A Popular Handbook to the National Gallery, Volume I, Foreign Schools Including by Special Permission Notes Collected from the Works of John Ruskin (part 4 of 4)

A Popular Handbook to the National Gallery, Volume I, Foreign Schools Including by Special Permission Notes Collected from the Works of John Ruskin (part 4 of 4)

This pretty little picture was shown at the Old Masters' Exhibition of 1870, where Ruskin noted it as an example of the phase in Italian art in which "pictorial perfectness and deliciousness" were sought before everything else (Works, xix. 444-5). "The same model reappears in the profile portrait of a youth (also in the character of Narcissus) in the Uffizi Gallery; again in a profile of San Sebastian in the Frizzoni Collection at Bergamo; and again in a profile drawing in the Louvre" (No. 47_a_ at the Burlington Fine Arts Club, 1898).

2709. MOTHER AND CHILD.

2710. THE DRAWBRIDGE.

Jacob Maris (Dutch: 1837-1899).

Two small pictures by one of the principal masters of the modern Dutch School. Jacob Maris was born at The Hague. He studied in Paris under Hebert, and exhibited at the Salon from 1862 to 1872, when he returned to The Hague. His figure-studies show, says R. A. M. S., "a perception of the rich but quiet tissue of colour which wraps all Nature if you look at it broadly enough." In landscape he and his brother Matthew are the chief of modern Dutch painters.

2711. WATERING HORSES.

Anton Mauve (Dutch: 1838-1888).

Mauve, one of the favourite landscape-painters of the modern Dutch School, was born at Zaandam, the son of a Baptist minister. He studied art at Amsterdam; his pensive and peaceful landscapes, often combined with horses and other animals, rapidly became popular. "His colour," wrote W. E. Henley, "is quite his own. To a right sense of nature and a mastery of certain atmospheric effects, he unites a genuine strain of poetry. His treatment of animals is at once judicious and affectionate. He is careful to render them in relation to their aerial surroundings; but he has recognised that they too are creatures of character and sentiment, and he loves to paint them in their relations to each other and to man. The sentiment is never forced, the characterisation is never strained, the drama is never exorbitant; the proportions in which they are introduced are so nicely adjusted that the pictorial, the purely artistic qualities of the work are undiminished" (Edinburgh Exhibition Catalogue, 1886).

This picture is a good example of the luminous skies in which Mauve excelled. The sky shines, it has been said, even on a dull day (see an appreciation of Mauve by Frank Rutter in the Studio, vol. 42).

2712. THE INTERIOR OF HAARLEM CHURCH.

Johannes Bosboom (Dutch: 1817-1891).

A characteristic piece by a painter of architecture who "rendered very delicately the play of sunbeams in the interior of picturesque churches, and warm effects of light in large halls and dusky corners" (Muther).

2713. THE PHILOSOPHER.

Joseph Israels (Dutch: 1824-1911).

Joseph Israels, the head of the modern Dutch School and a painter of world-wide reputation, has been called "The Dutch Millet," and "a modern Rembrandt"; and the phrases serve to indicate his characteristics, and his place in the development of modern art. He essayed to do what Rembrandt had done triumphantly two centuries before: to paint "not accidents, but life itself." He made in Dutch art the same departure that Millet made in French: he turned from conventional themes and motives to the life around him. Like Millet, Israels made a false start in art. He went to Paris in 1845, entered the École des Beaux-Arts, showing "Achilles and Patroclus" as his probationary drawing, and on his return to Amsterdam in 1848 began to paint, as Delaroche had taught him, "historical" scenes, Calabrian brigands, and other subjects in "the grand style." His health broke down, and he was ordered change of scene. At Zandvoort, a small fishing village near Haarlem, he found his Barbizon. "He lodged with a ship's carpenter, took part in all the usages of his house-mates, and began to perceive amid these new surroundings that the events of the present are capable of being painted, that the sorrows of the poor are as deep as the tragical fate of ancient heroes, that everyday life is as poetic as any historical subject, and that nothing suggests richer moods of feeling than the interior of a fishing-hut, bathed in tender light and harmonious in colour. This residence of several months in a distant little village led him to discover his calling, and determined his future career" (Muther). He was a devoted Jew, with a deep interest in the life and character of those of his race who abound in Holland. Among them, and among the Dutch toilers of the sea, he found his vocation, in painting the tragedy, the pathos, or the simple domestic joys of humble working folk. He did this with a technical mastery and with rare insight. His power of pathetic expression is remarkable; and over his work a spirit of soft tenderness is suffused. Many, perhaps most, of his pictures are sombre, but he had an eye for youth and hope, as well as age and sorrow, and few artists have painted children with so much sympathy. His method is broad and simple; his pictures having unity of effect, and telling their own story with great directness.

Joseph Israels was born at Gröningen, in the north of Holland, and for a time was occupied in his father's business as a money-changer, but he was encouraged to draw. In 1844 he went to Amsterdam, and entered the studio of Jan Kruseman. Then, as already related, came his student-years in Paris, and his false start as an historical painter. In 1855 he was represented at the Paris Exhibition by an historical picture of the Prince of Orange. In 1857 he showed at the Salon "Children by the Sea" and "Evening on the Beach." This change of subject marks the true start in an artistic career which was continuously successful, and which was prolonged into extreme old age. In 1862 his picture of "The Shipwrecked Mariner" (see below, 2732) created a sensation at the International Exhibition in London. In 1863 he married and settled down in a house midway between The Hague and Scheveningen, facing the canal. "Here the boats with their loads of herrings pass slowly along, so that the painter has only to look out of the front windows of his house in order to see the very men and women, the boats and towing-ropes, that figure in his canvases. His work is done in a studio in his garden; here he has a glass house, in which he paints his open-air figures, and has likewise fitted up a corner of an old Dutch cottage, so that open-air scenes and interiors may be as lifelike as it is possible for an artist to render them. As you enter this studio, you perceive a little old gentleman at work, dressed in a brown velvet coat. His hair is silvery white, and his somewhat pale face is lit up with the kindliest of smiles. He speaks five or six languages in the pleasantest voice imaginable, and English is one of them."

Personally, Israels was one of the most breezy of men, full of life and vigour, genial and accessible: "as fresh in mind as a youngster in his teens, as versatile as he is amiable, able and always ready to talk on every conceivable subject of interest, ever contributing some caustic and pointed comment, yet never assuming the dictatorial and self-opinionated manner which genius often considers itself privileged to adopt. His modesty, his unfailing amiability to all, young and old, distinguished and insignificant, have served to endear Joseph Israels to all who come in contact with him. He does not care to talk much about his own achievements, but he is less reticent about those of his son Isaac, who, he declares, is a greater artist than himself." These personalia are quoted from notices which appeared in connection with the artist's 75th birthday (in the Daily News and in Israel). He had still twelve years of life; and "his was the rare satisfaction of the man who, beginning in advance of his time, creates his own public, and sees it growing stronger, larger, and more devoted as he passes from youth to middle life and thence to extreme old age. He was not consciously the founder of a school, but he had many close followers, and the modern Dutch painters, who are now so fashionable, owe their fundamental ideas to him" (Times, Aug. 15, 1911).

There are passages in Browning's Grammarian's Funeral which will suggest themselves to many readers as they study this picture of an old student writing by the light of a single candle. The picture may be compared with an earlier Dutch one of a like subject--"The Philosopher," by Bega (1481).

2714. GRANDFATHER'S BIRTHDAY.

Isabey (French: 1804-1886).

Eugène Gabriel Isabey (by whom there are several pictures in the Wallace Collection) was born in Paris, the son of the celebrated miniature-painter, Jean-Baptiste Isabey. He first appeared as a genre painter; and "amid the group of Classicists of his time, he had (says Dr. Muther) the effect of a beautiful patch of colour." He afterwards took to sea painting, having in 1830 accompanied the French expedition to Algiers as marine draughtsman.

A characteristic example of the elegant facility with which the painter rendered scenes involving gay attire.

2715. FISH MARKET, DIEPPE.

Isabey (French: 1804-1886).

2723, 2724. LANDSCAPES.

Ascribed to G. Poussin (French: 1613-1675). See 31.

These landscapes, only recently included in the official numbering of the collection, were presented by Mr. P. Pusey in 1849.

2725. CHRIST BLESSING.

Benedetto Diana (Venetian: died 1525).

"If Benedetto be the painter of the fine picture of 'Christ at Emmaus,' in the church of St. Salvatore, Venice, still attributed in the guidebooks to Giovanni Bellini, he must have been an artist of no ordinary merit, and one who gradually, from an unpromising commencement of his artistic career, attained a high place among the followers of the master. A half-length figure, larger than life, of the Saviour in the act of blessing, signed with the painter's name, in private possession at Venice, although in a very damaged condition, has a grand and impressive character not unworthy of Bellini, to whom, as to other Venetian masters of note, many works by Diana in sundry collections are ascribed. He was employed with the two Bellini and Alvise Vivarini in decorating the hall of the Ducal Palace" (Layard's ed. of Kugler, 1887, p. 333).

2727. LE PONT DE LA TOURNELLE, PARIS.

Stanislas Lapine (French: 1836-1892).

Born at Caen; studied under Corot; exhibited at the Salon from 1859.

The Church of Notre Dame in the middle distance.

2731. LANDSCAPE.

W. Buitenweg (Dutch: 1590-1630).

William Buitenweg, or Buytewech, best known for his landscape drawings, was born at Rotterdam; married at Haarlem in 1613, and in 1625 returned to Rotterdam.

2732. THE SHIPWRECKED MARINER.

Joseph Israels (Dutch: 1824-1911). See 2713.

This celebrated picture--one by which the master often said he would like to be judged--created a great sensation at the International Exhibition of 1862. It was, said one critic, the most moving picture in the exhibition; before it, said another, crowds daily linger. The storm has passed, the waves have subsided, the greyish-black thunderclouds have vanished, and greenish, pallid sky smiles upon the earth once more. But upon the waves a shattered boat still rocks, and men and women and children have come down to see what victim may have been cast up by the tide--"For men must work, and women must weep, Though storms be sudden, and waters deep, And the harbour bar be moaning." Two fishermen reverently bear home the body of their dead comrade. His disconsolate wife and two awestruck children walk in front, and his old mother beside him. A man with a boat-hook, a woman pointing to the wreck on the reef, and others follow the procession, in the rear of which is the pathetic figure of a dog.

2757. TARTARUS: A SATIRICAL DESIGN.

James Callot (French: 1593-1635).

"A curious and fantastic composition (in Indian ink), by a celebrated engraver and draughtsman, in which it would seem that the artist intended to satirise the ecclesiastic factions rife in France during the minority of Louis XIII. Under the vault of a huge cave, round the upper part of which evil spirits and harpies are sporting, several figures are grouped. In the centre of the foreground two Jesuits are derided by demons. On the right, Cerberus, chained to a rock, guards the entrance to Hell, while an armed warrior (Louis XIII.) stands near with his back to the spectator. On the left is Death, surrounded by his victims and the Vices. In the middle distance Charon is crossing the Styx with his boat full of passengers, whom a crowd on the shore vainly endeavour to join. Beyond are represented the tortures of the condemned, among whom Ixion, Tityus, the Danaides, and other mythological personages are conspicuous. The armorial bearings introduced on the lower edge of the drawing are supposed to be those of M. de Boyer of Baudot, who is said to have suggested the design" (Director's Report, 1884). The artist's independence of character is recorded in a familiar anecdote. He was witness to the siege and capitulation of his native town, Nancy, in 1633, and the French king called on him to engrave a plate commemorative of the occurrence. When he declined, some of the courtiers are said to have remarked to the artist that there were means to make him comply. He replied that he would sooner cut off his right hand than employ it in such a work; a speech which, being reported to the king, led him to say that the Dukes of Lorraine were fortunate in the possession of such subjects.

2758. A SQUALL FROM THE WEST.

Louis Eugène Boudin (French: 1825-1898). See 2078.

2759. STORMY LANDSCAPE.

George Michel (French: 1763-1843). See 2258.

2764. A FAMILY GROUP.

Ascribed to Jan Vermeer (Dutch: 1632-1675).

This picture once formed part of No. 1699; the right arm of the seated child and the tablecloth here are continued there.

2767. THE SEA.

Gustave Courbet (French: 1819-1877).

Courbet is famous in the history of modern French painting as the first of the "realists"; he is the Caravaggio of France, full of force and vigour, but often somewhat coarse and brutal. His landscapes and seapieces will probably be esteemed more highly by posterity than his realistic works. He was, says Dr. Muther, "the first French painter of sea-pieces, who had a feeling for the sombre majesty of the sea. His very quietude is expressive of majesty; his peace is imposing, his smile grave; and his caress is not without a menace." Courbet was a revolutionary in politics, as in art. In September 1870 he was appointed Director of the Fine Arts by the Provisional Government, and he afterwards joined the Commune. He was instrumental in saving many works of art, but he ordered the destruction of the Column in the Place Vendôme. For this he was brought before a court-martial and sentenced to six months' imprisonment. Afterwards, in a civil action, he was cast in heavy damages; his furniture and pictures were sold; and he retired to Switzerland. He died at La Tour, Vevay, a ruined man.

2790. THE ADORATION OF THE MAGI.

Mabuse (Flemish: about 1470-1541). See 656.

This famous picture was acquired for the National Gallery from Rosalind, Countess of Carlisle, in 1911, for £42,776.[262] The picture was painted in about the year 1500 for the Abbey of Grammont in East Flanders. In 1600 it was bought for 2000 florins by the Archduke Albert to decorate the high altar of the Court Chapel in Brussels. A story which is recorded of it in those days is a tribute to its bright attractiveness. During Lent it used to be concealed by the hanging in front of it of a picture of the Crucifixion as less likely to interfere with the penitential thoughts proper to the season. In the 18th century the picture passed into the collection of Prince Charles of Lorraine, Governor-General of the Netherlands, and thence into that of the fifth Earl of Carlisle. For more than a century it remained at Castle Howard, and many connoisseurs who saw it there wrote of it as one of the chief art-treasures of Great Britain. "I do not think," wrote W. Bürger (Thoré), "that there is anywhere else a picture by Mabuse so brilliant, so well preserved, so capital as the Adoration of the Kings, belonging to the Earl of Carlisle." "For variety of character, glow of colour, and finished execution, quite unsurpassed," said Mrs. Jameson of it.

The pride of the artist himself in his work is shown by the fact that he has signed his name upon it in two places--i.e. on the head-dress of Balthasar, the black king, and on the metal collar of his attendant. The signature Jennin Gossart (diminutive, Little John), was that under which Mabuse was inscribed as a member of the Guild of St. Luke at Antwerp. In the history of Flemish art the picture is of interest as one of the last works painted before the "Italianising" influence became marked. It is one of the finest specimens of Mabuse's first period (see under 656); but it will be noticed that the architecture of the ruin is no longer Gothic, but already shows the influence of the Renaissance. The picture is after 400 years in perfect preservation. It has an artistic unity, for the parts are subordinated to the whole; but it is full of incident, which adds not a little to its attractiveness and curious interest.

The Adoration of the Magi affords a remarkable instance of the way in which the Bible text, first expounded by Church legends, was then embroidered by the painters; and this example of "evolution in art" may be studied very fully in the National Gallery, which contains pictures of the subject painted in various schools and at various periods. The starting-point of the whole development is the second chapter of St. Matthew's Gospel where it is related that "wise men came from the East to Jerusalem"; that a star guided them to Bethlehem; and that "when they were come into the house, they saw the young child with Mary his mother, and fell down and worshipped him; and when they had opened their treasures, they presented unto him gifts--gold, and frankincense, and myrrh." Legend set itself to work on this narrative. The Wise Men, it was decided, were three in number; and the Psalmist's prediction--"the Kings of Tarshish and of the Isles shall bring presents, the Kings of Sheba and Saba shall offer gifts"--showed that the Magi were kings. Later writers identified their realms as Tarsus, Saba, and Nubia; whence one of the kings is commonly represented as a Moor or Nubian. Their names also became known--Gaspar, Melchior, and Balthasar. Further developments of the legend--how their remains were discovered by the Empress Helena at Constantinople, and taken by Milan to Cologne--do not here concern us; it will be seen that by the time art was ready to take up the story, the painters had much material around which to let their fancy play.

The earlier painters in each school treated the story simply. Then as technical resources increased, and artistic effect rather than mere religious instruction became the motive, the theme was ever more and more expanded, until it became the most gorgeously rendered of all the Gospel scenes. Many readers will remember the severe and simple treatment of the subject by Giotto in the Arena Chapel at Padua; with which may be compared in our gallery Orcagna's small picture (574). If the visitor after looking at that will turn to the splendid pageant (1033), with its seventy figures, by Botticelli (or Filippino Lippi), he will see at a glance how the theme became embroidered and enlarged. The picture by Fra Angelico (582) represents an intermediate stage. A similar contrast may be noted in the Flemish room. The picture attributed to David (1079) is simple, earnest, and homely; far less gorgeous and various than the Mabuse. The fact is that, in the more elaborate pictures of the subject, it was taken as an excuse or occasion for displaying whatever elements of pomp or circumstance appealed to the individual artist. Thus Peruzzi (167 and 218) elaborates the architecture and the horses, and introduces portraits. The Tuscans made out of the subject a Florentine pageant. Mabuse's picture is interesting, amongst other reasons, as a kind of epitome of the arts and crafts of his time. Note, for instance, the cups and chalices in which the kings bring their presents; their jewelled robes and head-dresses; and, for a minor detail, the pretty bag worn by the Black King's page: it might well be copied for a lady's reticule to-day.

No less remarkable than the variety of treatment in pictures of the Magi is the large measure of uniformity of type which may be found in them all. A few remarks on these common elements, which were for the most part symbolic, will serve the double purpose of directing attention to further details in Mabuse's picture and of connecting it with other examples in the Gallery. The scene of the drama is in the earliest pictures a stable or a shed; in the later, it is almost invariably the ruins of a temple or other ancient building--a symbol of the triumph of Christianity over paganism. The ox and the ass will be noticed among the ruins here, and the shepherds are seen approaching. The idea is to mark the event as a manifestation alike to the Jews (the shepherds) and to the Gentiles (the Magi). Angels hover above, singing the "Gloria in Excelsis," and the composition is crowned by the Star with the Dove. The background almost invariably includes a mountainous landscape, through which the retinue of the kings may be discerned winding its way--a reminder that they journeyed from a far country. This is a feature, indicated sufficiently by Mabuse, which may be seen more emphasised in the picture by Foppa (729). The Kings are nearly always shown as old, middle-aged, and young respectively, and one of them is black: when the Gentiles were called to salvation, all ages, continents, and races were included. In Mabuse's picture the equality of the races is emphasised in a further way; the Black King, conspicuous on the left, has his train borne by a white page. The eldest of the kings offers a vase of gold, out of which Christ has taken a piece, which He holds in His hand. The king uncovers his head. "To most mediæval painters the Adoration envisages itself essentially as an act of feudal homage." Conspicuous in the foreground are two dogs. "The one on the right," says the Official Catalogue, "is similar to a dog by Albert Dürer in his engraving of St. Eustace, that on the left is reversed from a print by Martin Schongauer." The dog is often thus included in the "Adoration"; as, for instance, in one of the earliest (Orcagna, 574) and in one of the latest (Peruzzi, 218) of our versions; and everybody will have noticed how frequently in other religious pictures also the dog is introduced. "This custom of putting either the dog, or some inferior animal, to be either in contrast, or modest companionship, with the nobleness of human form and thought, is," says Ruskin, "a piece of what may be called mental comparative anatomy, which has its beginning very far back in art" (Eagle's Nest, ch. 8; see also Modern Painters, vol. v. pt. ix. chs. 3, 6). The place of Joseph in the scene differs a good deal in different pictures, for the early legends varied. Orcagna (574) shows him receiving one of the presents from the hands of the Child: he plays, as it were, the part of royal treasurer or chamberlain. Dosso Dossi (640) shows him kneeling in the background. In the present picture he stands, in a red dress, under an archway, listening devoutly to the heavenly harmony. All the figures in Mabuse's picture (there are some thirty) will repay examination. The Virgin's expression is well given; and, as a study in contrasts, the reverent figures behind the kneeling king may be compared with the man on the extreme left who, catching hold of a pillar, is leaning out in curiosity to see the sights. There is much other detail which might be described--the plants, for instance, in the foreground and on the ruins; but enough has been said to indicate the wealth and variety of interest which is to be found in this picture.

2856. A CAVALIER AND A LADY.

Pieter Quast (Dutch: 1606-1647).

Quast was a painter and engraver of The Hague; his pictures are in the style of Brouwer and Isaac van Ostade.

2862. ST. JOHN GUALBERTO.

Lorenzo Monaco (Florentine: 1370-1425). See 1897.

This picture represents St. John Gualberto, the Florentine (died 1073), establishing the Order of the Vallombrosans, whose proper habit is of a pale ash colour. He was Abbot of San Miniato, from which he retired to Vallombrosa, establishing there the Order called after the place of its original home.

2863. VIRGIN AND CHILD, WITH ANGELS.

School of Benozzo Gozzoli (Florentine: 1420-1497). See 283.

FOOTNOTES:

[38] It is worth noting that a similar incident (which in this picture has greatly shocked some of the critics) is introduced in Orcagna's great fresco of the Triumph of Death. "The three kings of the German legend are represented looking at the three coffins containing three bodies of kings, such as themselves, in the last stage of corruption.... Orcagna disdains both poetry and taste; he wants the facts only; he wishes to give the spectator the same lesson that the kings had, and, therefore, instead of concealing the dead bodies, he paints them with the most fearful detail. And then, he does not consider what the three kings might most gracefully do. He considers only what they actually, in all probability, would have done. He makes them looking at the coffins with a startled stare, and one holding his nose" (Lectures on Architecture and Painting, pp. 209, 210).

A comparison of the various opinions expressed on this picture would form a diverting chapter in the history of art criticism. Thus in Kugler's Handbook we are told that it is "in many respects one of the noblest pictures existing"; Sir Henry Cole ("Felix Summerly") called it "doubtless the greatest Italian painting in this country"; Hazlitt said it was "one of the best pictures on so large a scale that he was acquainted with"; Waagen pronounced it to be "the most important specimen of Italian art in England"; Solly called it "the second picture in the world"; and Mrs. Jameson saw in it a combination of "the characteristic power and beauty of the finest school of design and the finest school of colouring in the world." For an equally uncompromising condemnation see Landseer's Catalogue, pp. 92-119. It is interesting to note that in some cases the admiration excited by the picture was due to the dirt with which by long neglect and lapse in time it had come to be discoloured. Thus Hazlitt says that "the figure of Lazarus is very fine and bold. The flesh is well-baked, dingy, and ready to crumble from the touch, when it is liberated from its dread confinement to have life and motion impressed on it again" (Criticisms on Art, 1843, p. 9). Thus it was inferred that Sebastiano stooped to the trivial artifice of imparting an appearance of half putrefaction to the exhumed corpse. The absurdity of this criticism is well exposed by Henry Merritt, the famous picture restorer, in his essay on "Dirt and Pictures Separated" (Art Criticism and Romance, i. 69). The fact is that the whole picture was sadly darkened with time, and that it had become "embedded beneath a thick covering, compounded of half opaque varnish, patches of modern paint, and dirt." It has only been found possible partly to remove this covering. It may not be uninteresting to add that the picture was a favourite with Charles Darwin. "Many of the pictures in the National Gallery," he wrote, "gave me much pleasure; that of Sebastian del Piombo exciting in me a sense of sublimity" (Life, i. 49).

The poet Tennyson was another great admirer of the picture. His son, describing visits with the poet to the National Gallery, says, "he always led the way first of all to the "Raising of Lazarus," by Sebastian del Piombo, and to Titian's "Bacchus and Ariadne."" "The Christ I call Christlike," said Tennyson on one occasion to Carlyle, "is Sebastian del Piombo's in the National Gallery" (Memoir, ii. 235). It is possible that the poet may have written the stanzas cited above with his eye on Sebastiano's picture.

[39] "When they went to nature, which I believe to have been a very much rarer practice with them than their biographers would have us suppose, they copied her like children, drawing what they knew to be there, but not what they saw there" (Modern Painters, vol. i. pt. ii. sec. ii. ch. iii. § 7).

[40] The "Claude Lorraine glass"--a convex dark, or coloured hand-mirror used to concentrate the features of a landscape in a subdued tone--"gives the objects of nature," says an old writer, "a soft mellow tinge like the colouring of that master."

[41] But Ruskin does not quite keep his promise. "If Claude had been a great man he would not have been so steadfastly set on painting effects of sun; he would have looked at all nature, and at all art, and would have painted sun effects somewhat worse, and nature universally much better" (Modern Painters, vol. iii. pt. iv. ch. xviii. § 23).

[42] The passages quoted from Sir F. Burton are to be found in his edition of the Official Catalogue (unabridged) of the Foreign Schools. That work, which occupied the late Director's leisure for many years, is a worthy monument of his wide learning and fastidious taste. A large-paper edition was issued by the Stationery Office in 1892.

[43] See, however, the sunset picture of his predecessor, Bellini (726). Connoisseurs should note that this picture is referred to by Richter as bearing on the vexed question of Palma Vecchio's relation with Titian, and showing that the latter imitated the former rather than vice versâ (Italian Art in the National Gallery, p. 85. See also Morelli's German Galleries, p. 25).

[44] Called also "Sinon before Priam" (Æneid, ii. 79).

[45] The two pictures were bought by the nation in 1834 for £11,550. The sum was then thought a very large one, and the trustees fortified themselves with the opinion of experts. Amongst these Sir David Wilkie, R.A., wrote, "It is certainly a large sum for two pictures; but giving this difficulty its due weight, I would decidedly concur in giving this sum rather than let them go out of the country, considering the rarity of such specimens even in foreign countries, and their excellence as examples of the high school to which they belong, to which it must be the aim of every other school to approach."

[46] The picture is inscribed "Mariage d'Isaac avec Rebecca," but it is a repetition with some variations in detail of the Claude known as Il Molino (The Mill) in the Doria palace at Rome. Ruskin characterises this version of the subject as a "villainous and unpalliated copy." "There is not," he adds, "one touch or line of even decent painting in the whole picture; but as connoisseurs have considered it a Claude, as it has been put in our Gallery for a Claude, and as people admire it every day for a Claude, I may at least presume it has those qualities of Claude in it which are wont to excite the public admiration, though it possesses none of those which sometimes give him claim to it; and I have so reasoned, and shall continue to reason upon it, especially with respect to facts of form, which cannot have been much altered by the copyist" (Modern Painters, vol. i. pt. ii. sec. iii. ch. i. § 9, sec. iv. ch. ii. § 8).

[47] The following is the text of this portion of Turner's will: "I give and bequeath unto the Trustees and Directors for the time being of a certain Society or Institution, called the 'National Gallery' or Society, the following pictures or paintings by myself, namely Dido Building Carthage, and the picture formerly in the De Tabley collection. To hold the said pictures or paintings unto the said Trustees and Directors of this said Society for the time being, in trust for the said Institution or Society for ever, subject, nevertheless, to, for, and upon the following reservations and restrictions only; that is to say, I direct that the said pictures or paintings shall be hung, kept, and placed, that is to say, always between the two pictures painted by Claude, The Seaport and Mill." The "picture formerly in the De Tabley collection" is the "Sun rising in a Mist," 479. Turner bought it back at Lord de Tabley's sale at Christie's in 1827 for £514: 10s., and ever afterwards refused to part with it. The other picture, the Carthage (498), was returned unsold from the Academy, and Turner always kept it in his gallery. His friend Chantrey used to make him offers for it, but each time its price rose higher. "Why, what in the world, Turner, are you going to do with the picture?" he asked. "Be buried in it," Turner replied--a remark he often made to other friends.

[48] "So in N. Poussin's 'Phocion' (40) the shadow of the stick on the stone in the right-hand corner, is shaded off and lost, while you see the stick plainly all the way. In nature's sunlight it would have been the direct reverse: you would have seen the shadow black and sharp all the way down; but you would have had to look for the stick, which in all probability would in several places have been confused with the stone behind it" (ibid.).

[49] Compare on this point G. Poussin's "Abraham and Isaac" (31).

[50] One may compare with Ruskin's description the similar one by Tennyson of a distant view of Monte Rosa--

How faintly-flush'd, how phantom-fair, Was Monte Rosa, hanging there A thousand shadowy-pencill'd valleys And snowy dells in a golden air.

The Daisy.

[51] "In some of the convents (in Mexico) there still exist, buried alive like the inmates, various fine old paintings ... brought there by the monks" (Dublin National Gallery Catalogue). The Spanish influence gave birth, moreover, to a native Mexican School of painting, said to be of considerable merit.

[52] "Murillo, of all true painters the narrowest, feeblest, and most superficial, for those reasons the most popular" (Two Paths, § 57 n.)--"The delight of vulgar painters (as Murillo) in coarse and slurred painting merely for the sake of its coarseness, opposed to the divine finish which the greatest and mightiest of men disdained not" (Modern Painters, vol. ii. pt. iii. sec. i. ch. x. § 3).

[53] The French partiality for Murillo is traditional, dating back to Marshal Soult's time, from whose collection the "Immaculate Conception" was bought. Murillos were his favourite spoils from the Peninsular War. "One day, showing General G---- his gallery in Paris, Soult stopped opposite a Murillo, and said, 'I very much value that, as it saved the lives of two estimable persons.' An Aide-de-camp whispered, 'He threatened to have both shot on the spot unless they gave up the picture'" (Ford's Handbook).

[54] "He was not a bad painter," continued Ruskin, "but he exercises a most fatal influence on the English School, and therefore I owe him an especial grudge. I have never entered the Dulwich Gallery for fourteen years without seeing at least three copyists before the Murillos. I never have seen one before the Paul Veronese.... I intend some time in my life to have a general conflagration of Murillos." Ruskin would have been relieved to know that of late years at the National Gallery Paul Veronese--and especially his St. Helena--has been very frequently copied.

[55] Amongst the curiosities of criticisms are the differences between experts as to whether this is a morning or an evening effect. Contradictory opinions on the point were submitted to the Select Committee of 1853, but as the picture had been "restored," each side was able to impute the difficulty of deciding to the "ruinous" nature of that operation.

[56] It may be interesting to note on the other side that Dr. Waagen (whose experience of the sea is given under No. 149) finds the waves in this picture to "run high," and to be "extraordinarily deep and full."

[57] Compare for equally defective perspective the covered portico in 30.

[58] Visitors to Venice may like to be reminded that most of Ruskin's criticism upon Tintoret's works there is now easily accessible in (1) The Relation between Michael Angelo and Tintoret, (2) The Stones of Venice, travellers' edition, and (3) the reissue of the second volume of Modern Painters. Mr. Ruskin always accounted his "discovery" of Tintoret as one of the chief works of his life. "I have supplied," he wrote in Stones of Venice (1853), "somewhat copious notices of the pictures of Tintoret, because they are much injured, difficult to read, and entirely neglected by other writers on art." "I say with pride," he wrote in the epilogue to the second volume of Modern Painters (1883), "what it has become my duty to express openly, that it was left to me, and to me alone, first to discern, and then to teach, so far as in this hurried century any such thing can be taught, the excellency and supremacy of five great painters, despised until I spoke of them;--Turner, Tintoret, Luini, Botticelli, and Carpaccio. Despised,--nay, scarcely in any true sense of the word, known." For the Pre-Ruskinian view of Tintoret, the reader may consult Kugler's Handbook of Painting.

[59] For an exhaustive and interesting history of the legend see Mr. J. R. Anderson's Supplement to St. Mark's Rest. One account, it seems, places both Perseus and St. George in the Nile Delta. Politicians who say that England has gone to Egypt to save that country from itself may perhaps see some significance in this. The superstitious in such things will not forget either that one of Gordon's names was George.

[60] It is proper to mention that most of the critics dispute the genuineness of this picture, and consider it a copy by some scholar or imitator. "It is but a school repetition of a signed picture in The Hermitage, with the omission, however, of a charming figure of St. Catherine." In connection with this disputed point, it may not be out of place to recall the famous forgery in which Andrea himself played the chief part. The Duke of Mantua coveted Raphael's portrait of Leo X., and obtained permission from the Pope to appropriate it. The owner determined to meet force by fraud, and employed Andrea to make a copy which was sent to the Duke as the original. The copy, when at Mantua, deceived even Giulio Romano, who had himself taken part in the execution of the original--a fact which might well induce some modesty of judgment in connoisseurs.

[61] The title usually given to this picture, "Christ Disputing with the Doctors," cannot be correct, for the figure of Christ is too old for an incident which occurred when he was twelve years old.

[62] In the little-known collection in the library of Christ Church, Oxford, there is a powerful but unpleasantly realistic picture of a group in a butcher's shop, by one of the Carracci, which is perhaps a family portrait.

[63] See Blake's Auguries of Innocence.

[64] Gaspard was particularly unfaithful to the variety of nature in his representation of leaves (see 98). It is interesting therefore, as showing how long it passed for truth, to note that Lanzi (i. 481) singles out this point for special praise: "Everything that Gaspard expresses is founded in nature; in his leaves he is as various as the trees themselves."

[65] Compare on this point Claude's "Isaac and Rebecca," No. 12.

[66] This anecdote is a modern counterpart of that of Protogenes, the rival of Apelles, who worked continuously, we are told, during the siege of Rhodes by Demetrius Poliorcetes, notwithstanding that the garden in which he painted was in the middle of the enemy's camp. Demetrius, unsolicited, took measures for the painter's safety, and when he was told that one of the masterpieces by Protogenes was in a part of the town exposed to assault, he changed his plan of operations.

[67] "If you live in London you may test your progress accurately by the degree of admiration you feel for the leaves of vine round the head of the Bacchus in Titian's Bacchus and Ariadne" (Elements of Drawing, p. 82). Another technical beauty referred to in the same book (p. 77 n.) is "the points of light on the white flower in the wreath of the dancing child-faun." Similarly, "the wing of the cupid in Correggio's picture (10) is focused to two little grains of white at the top of it." Elsewhere Ruskin calls attention to "the leaves which crown the Bacchus, and the little dancing faun: every turn of the most subtle perspective, and every gradation of colour, is given with the colossal ease and power of the consummate master" (Academy Notes, 1855, p. 22).

[68] Ruskin's analysis of Rubens's technical method, which is here omitted as foreign to the scope of this handbook, will be found in his review of Eastlake's History of Oil Painting, now reprinted in On the Old Road, i. §§ 98-136.

[69] "The conditions of art in Flanders--wealthy, bourgeois, proud, free,--were not dissimilar to those of art in Venice. The misty flats of Belgium have some of the atmospheric qualities of Venice. As Van Eyck is to the Vivarini, so is Rubens to Paolo Veronese. This expresses the amount of likeness and difference" (Symonds: Renaissance, iii. 265 n).

[70] See, for a further instance of this, what is said of Rubens's landscapes below, under 66.

[71] Dr. Elisabeth Denio, in her monograph on Poussin (1899), adduces good reason for altering the commonly accepted date 1594 to 1593.

[72] See Lanzi, i. 477, and a paper by Mr. R. Heath in the Magazine of Art for September 1877, where Poussin's theory is illustrated from his pictures in the Louvre. English readers may be reminded that Poussin is particularly well represented in the Dulwich Gallery.

[73] Elsewhere Ruskin says of Poussin, "Whatever he has done has been done better by Titian." Also, "the landscape of Nicolo Poussin shows much power, and is usually composed and elaborated on right principles, but I am aware of nothing that it has attained of new or peculiar excellence; it is a graceful mixture of qualities to be found in other masters in higher degrees. In finish it is inferior to Leonardo's, in invention to Giorgione's, in truth to Titian's, in grace to Raphael's" (Modern Painters, vol. i. pt. ii. sec. i. ch. vii. § 14).

[74] "He feared the fascinations of colour, and once wrote from Venice that he must flee from a place where they lured him too much. He did not know how needless was the alarm" (Sir F. Burton).

[75] Constable, who made some studies from this picture, was of the same opinion. In a letter to Fisher he describes it as "a noble Poussin: a solemn, deep, still summer's noon, with large umbrageous trees, and a man washing his feet at a fountain near them. Through the breaks in the trees are mountains, and the clouds collecting about them with the most enchanting effects possible. It cannot be too much to say that this landscape is full of religious and moral feeling" (Leslie's Life of Constable, p. 90).

[76] "Hang these pictures in a very strong light," said Rembrandt of his early work. "The smell of paint is not good for the health," he said many years afterwards, when a visitor came close up to one of his later pictures.

[77] Baldwin Brown's The Fine Arts, p. 298, where Mr. Whistler's beautiful description of a "nocturne" on the Thames is cited as being in direct artistic descent from Rembrandt. "To Rembrandt," said the late Mr. Wornum (Epochs of Painting, 1864, p. 421), "belongs the glory of having first embodied in art and perpetuated [such] rare and beautiful effects of nature" as are referred to above. Ruskin took up the sentence, and replied with characteristic emphasis: "Such effects are indeed rare in nature; but they are not rare, absolutely. The sky, with the sun in it, does not usually give the impression of being dimly lighted through a circular hole; but you may observe a very similar effect any day in your coal-cellar. The light is not Rembrandtesque on the current, or banks, of a river; but it is on those of a drain. Colour is not Rembrandtesque, usually, in a clean house; but is presently obtainable of that quality in a dirty one. And without denying the pleasantness of the mode of progression, which Mr. Hazlitt, perhaps too enthusiastically, describes (in a criticism upon the present picture) as obtainable in a background of Rembrandt's, 'you stagger from one abyss of obscurity to another,' I cannot feel it an entirely glorious speciality to be distinguished, as Rembrandt was, from other great painters, chiefly by the liveliness of his darkness, and the dulness of his light. Glorious or inglorious, the speciality itself is easily and accurately definable. It is the aim of the best painters to paint the noblest things they can see by sunlight. It was the aim of Rembrandt to paint the foulest things he could see--by rushlight,"--a statement from which, of course, deduction must be made, in forming a general idea of Ruskin's estimate, for his appreciation of Rembrandt's portraits. See, e.g. under 51.

[78] To further understand Rembrandt's principle of choice, contrast that of Veronese. See the passage quoted under No. 26.

[79] Yet Rembrandt's pictures are often more deceptive--look more like reality--than others which are really more true. Why? It is because "people are so much more easily and instinctively impressed by force of light than truth of colour.... Give them the true contrast of light, and they will not observe the false local colour." The references to Ruskin are Modern Painters, vol. iii. pt. iv. ch. iii. § 16; vol. iv. pt. v. ch. ii. §§ 11-19; vol. v. pt. ix. ch. vi. § 10; On the Old Road, i. 498-505.

[80] Ruskin, writing to the Times in 1847, said of the then condition of the picture: "I have no hesitation in asserting that for the present it is utterly, and for ever partially, destroyed. I am not disposed lightly to impugn the judgment of Mr. Eastlake (that is, the then Keeper and subsequent Director, the late Sir C. L. Eastlake), but this was indisputably of all the pictures in the Gallery that which least required, and least could endure, the process of cleaning. It was in the most advantageous condition under which a work of Rubens can be seen; mellowed by time into more perfect harmony than when it left the easel, enriched and warmed, without losing any of its freshness or energy. The execution of the master is always so bold and frank as to be completely, perhaps even most agreeably, seen under circumstances of obscurity, which would be injurious to pictures of greater refinement; and though this was, indeed, one of his most highly-finished and careful works (to my mind, before it suffered this recent injury, far superior to everything at Antwerp, Malines, or Cologne), this was a more weighty reason for caution than for interference. Some portions of colour have been exhibited which were formerly untraceable; but even these have lost in power what they have gained in definitiveness,--the majesty and preciousness of all the tones are departed, the balance of distances lost. Time may, perhaps, restore something of the glow, but never the subordination; and the more delicate portions of flesh tint, especially the back of the female figure on the left, and of the boy in the centre, are destroyed for ever" (Arrows of the Chace, i, 56, 57).

[81] The magnificent portrait No. 52 is by some critics ascribed to Rubens. Van Dyck hardly ever signed his pictures.

[82] Not all artists have learnt from this great work gladly. It was exhibited at the first exhibition of "Old Masters" at the British Institution in 1815, and B. R. Haydon tells the following story: "Lawrence was looking at the Gevartius when I was there, and as he turned round, to my wonder, his face was boiling with rage as he grated out between his teeth, 'I suppose they think we want teaching!'" (Autobiography, i. 292).

[83] Such is the tradition. By many modern critics the picture is, on internal evidence, taken away from Van Dyck and given to Rubens. Mr. Watts in the article cited above says: "Attributed to Van Dyck, but hardly, I think, suggesting his work, though it would be difficult to attribute it to any other painter, unless, perhaps, on some occasion Rubens might have been inspired with so fervent a love for art that he forgot his satisfaction in scattering his over-ripe dexterity."

[84] The statement found in many biographies of the painter that he was a brewer is a mistake. It arose from the fact that his daughter married a brewer, and that the painter himself was buried from his son-in-law's brewery.

[85] See Modern Painters, vol. v. pt. vii. ch. iv. § 13.

[86] Ruskin (ibid., vol. ii. pt. iii. sec. ii. ch. iv. § 16) notices this treatment of Apollo under the head of "Imagination Contemplative," as an instance of an imaginative abstraction "in which the form of one thing is fancifully indicated in the matter of another; as in phantoms and cloud shapes, the use of which, in mighty hands, is often most impressive, as in the cloudy-charioted Apollo of Nicolo Poussin in our own Gallery, which the reader may oppose to the substantial Apollo in Wilson's Niobe," see No. 110.

[87] This figure is specially good. It was to rival this great landscape that James Ward (see 688), as he avows in his autobiography, painted his "Fighting Bulls," now in the South Kensington Museum. "How full of lithe natural movement," says Mr. J. T. Nettleship, "is the man in the foreground, in heavy boots and feathered hat, stooping and creeping towards the covey of partridges under cover of bramble and bush, compared with the clumsy anatomical bulls in Ward's picture" (George Morland, p. 54).

[88] Ruskin is here speaking of the somewhat similar "St. George" picture in the Church of St. James at Antwerp.

[89] See also No. 98, in which the tree is said by Ruskin to be "a mere jest" compared to this.

[90] No. 78 was formerly Sir Joshua Reynolds's "Holy Family," on which notes will be found in Volume II. of this Handbook. The picture has now been withdrawn from exhibition and little remains of it, for owing to the excessive use of asphaltum the pigments have disappeared.

[91] "Garofano" is the Italian for "gillyflower" (or clove-pink), and Tisio sometimes painted this flower as his sign-manual (like Mr. Whistler's butterfly).

[92] Authorities differ between this title and "Pan teaching Apollo to play on the pipes." Certainly there is the "Pan's pipe," but then if it is Pan he ought to have goat's legs and horns. The fact that the picture is a companion to "Silenus gathering Grapes" makes also in favour of the description given in the text above.

[93] See also Ruskin's remarks on the companion storm piece, No. 36.

[94] It should be noted that this, as well as very many other pictures, has of late years been cleaned. Thus 98 and 68 (in 1880), 36 and 40 (in 1868), have been "cleaned and varnished." 31 was "relined, repaired, and varnished" in 1878; 161 was "cleaned and repaired" in 1868.

[95] The diminutive title "Il Canaletto" was originally applied to Antonio's nephew and pupil, Bernardo Bellotto, but came to be transferred to Antonio Canale himself. The two Canaletti painted so much alike that their works are not easily distinguished.

[96] Ruskin, on one of his latest visits to the National Gallery (1887), confessed that he had found himself admiring Canaletto. "After all," he said to me, "he was a good workman in oils, whereas so much of Turner's work is going to rack and ruin." Ruskin had made a similar concession long before to Claude. Writing to Mr. Fawkes on the death of Turner, he mentions a rumour that the artist had left only his finished pictures to the nation. "Alas! these are finished in a double sense--nothing but chilled fragments of paint on rotten canvas. The Claudites will have a triumph when they get into the National Gallery" (quoted in The Nineteenth Century, April 1900).

[97] An amusing instance of the naïve ignorance of the sea which underlay much of the excessive admiration of Vandevelde is afforded by Dr. Waagen, for many years director of the Berlin Gallery, and author of Treasures of Art in England. At the end of a passage describing his "first attempt to navigate the watery paths," he says: "For the first time I understood the truth of these pictures (Bakhuizen's and Vandevelde's), and the refined art with which, by intervening dashes of sunshine, near or at a distance, and ships to animate the scene, they produce such a charming variety on the surface of the sea." "For the first time!" exclaims Ruskin (Arrows of the Chace, i. 16, 17), "and yet this gallery-bred judge, this discriminator of coloured shreds and canvas patches, who has no idea how ships animate the sea until--charged with the fates of the Royal Academy--he ventures his invaluable person from Rotterdam to Greenwich, will walk up to the work of a man whose brow is hard with the spray of a hundred storms, and characterise it as 'wanting in truth of clouds and waves.'" Dr. Waagen, it should be explained, had, on the strength of his first "navigation of the watery ways" pronounced Turner's works inferior in such truth to Vandevelde. Clearly Dr. Waagen, more fortunate than most of our foreign visitors, had a calm crossing.

[98] It is interesting that another contemporary man of letters, the late Matthew Arnold, singled out these same lines for special praise: "No passage in poetry," he said, "has moved and pleased me more" (Fortnightly Review, August 1887, p. 299).

[99] In this town were born two other painters, who are sometimes known by its name. Curiously enough, all three were originally masons.

[100] Ruskin speaks of "the ruffian Caravaggio, distinguished only by his preference of candle-light and black shadows for the illustration and reinforcement of villainy" (On the Old Road, i. § 48).

[101] According to Morelli (Italian Masters in German Galleries, p. 56 n.), this familiar tale is legendary, Francia being merely an abbreviation of his Christian name, Francesco. But the painter sometimes signed his name Franciscus Francia, a form which on Morelli's hypothesis would be tautological.

[102] Francia's friendship with Raphael, on which art historians have based many theories and spun many interesting tales, is now discredited, the documents in question being comparatively modern forgeries (see p. 366 of Kugler's Italian Schools of Painting, 5th edition, revised by Sir A. H. Layard, 1887, elsewhere referred to as Layard).

[103] Vasari's story that Francia died of chagrin on seeing how far the whole work of his own life was transcended by Raphael's picture of St. Cecilia, which was sent to its destination at Bologna about 1516, is hardly credible.

[104] Ruskin said of this picture in 1847: "The attribution to him of the wretched panel which now bears his name is a mere insult" (Arrows of the Chace, i. 64). "Petrus Peruginus" is inscribed in gold on the base of the mantle of the Virgin, but the picture may be the work of his disciple, Lo Spagna (see 1032).

[105] Up to the time of the Van Eycks the general process of artistic painting for detached pictures was tempera. In this method the colours, after being ground with chalk, were laid on with a medium of water, white of eggs, juice of unripe figs, or some similar substance. Some kind of oil varnish was, however, often laid on afterwards, and a few Italian artists sometimes tried to mix their colours with oil in the first instance; but the results cannot have been satisfactory, for even Crivelli, who died in 1495, was still exclusively a painter in tempera. The objection to tempera, so far at any rate as northern countries were concerned, was that it suffered from the damp. Thus in an old retable in Westminster Abbey, so painted, the painting has flaked off. The objection to the early attempts at using oil as a medium was that it took a long time to dry. This caused Van Eyck incessant annoyance; his knowledge of chemistry led him to make experiments, and at last he obtained a medium which hastened the drying without the necessity of exposure to the sun. This medium was probably a mixture of linseed and nut oils. This method is different from that now called oil-painting. Now the colours are laid on by an oily medium, and when the picture is finished the whole surface is protected by a transparent varnish. Then the varnish was incorporated with the surface colours (see Conway's Early Flemish Artists, p. 119; and Wauters's Flemish School of Painting, p. 35).

[106] Arrows of the Chace, i. 66. "John Bellini is the only artist who appears to me to have united, in equal and magnificent measures, justness of drawing, nobleness of colouring, and perfect manliness of treatment, with the purest religious feeling. He did, as far as it is possible to do it, instinctively and unaffectedly, what the Carracci only pretended to do. Titian colours better, but has not his piety; Leonardo draws better, but has not his colour; Angelico is more heavenly, but has not his manliness, far less his powers of art" (Stones of Venice, Venetian Index). Morelli's estimate is the same; see German Galleries, p. 361.

[107] This letter of Dürer's gives an interesting glimpse into the art life of the time. "I have many good friends among the Italians, who warn me not to eat and drink with their painters. Many also of them are my enemies; they copy my things for the churches, picking them up whenever they can. Yet they abuse my style, saying that it is not antique art, and that therefore it is not good. But Giambellini has praised me much before many gentlemen; he wishes to have something of mine; he came to me and begged me to do something for him, and is quite willing to pay for it. And every one gives him such a good character that I feel an affection for him. He is very old, and is yet the best in painting; and the thing which pleased me so well eleven years ago has now no attractions for me" (Catalogue of Standard Series in the Ruskin Drawing School, P. 7).

[108] See Report of Select Committee on the National Gallery, 1853, p. 432, where the whole story will be found very frankly told in Sir C. Eastlake's evidence.

[109] Similarly Raphael Mengs, a later Spanish painter, said of Velazquez that he appeared to have painted with his will only, without the aid of his hand.

[110] I read the other day in an otherwise intelligent memoir of Ruskin that "a generation which admired Velazquez had outlived the art criticism of Ruskin." Not outlived, but absorbed, and so forgotten. It was Ruskin who, half a century before, proclaimed the consummate excellence of Velazquez--the "greatest artist of Spain," and "one of the great artists of the world"; the master to all schools in his "consummate ease"; the man who was "never wrong." In his admiration of Velazquez Ruskin never wavered. The citations above given are from his earlier books. In his later period, a picture by Velazquez was included among the "Four Lesson Photographs" as "an example of the highest reach of technical perfection yet reached in art; all effort and labour seeming to cease in the radiant peace and simplicity of consummated human power" (Fors Clavigera, 1876, p. 188).

[111] This was written in 1846. In 1853 some "horrible revelations" were made about the picture before the Select Committee on the National Gallery. Ruskin turned out to be curiously wrong, but also curiously right. He was wrong; for so far from the picture being "in genuine and perfect condition," a considerable portion of the canvas, as we now see it, turned out to be not by Velazquez's hand at all. Lord Cowley, its former owner, had sent it to a Mr. Thane, a picture dealer, to be relined. A too hot iron was used, and a portion of the paint entirely disappeared. Thane was in despair. The picture haunted him at nights. He saw the figure of it in his dreams becoming more and more attenuated until it appeared at length a skeleton. He was near going mad over it, when a good angel came to his rescue in the shape of Lance, the flower and fruit painter, who offered to restore the missing parts out of his head. So far Ruskin was decidedly wrong. But he was also right. The parts which Lance painted in "out of his head" were the groups on the left of the foreground, and some of the middle distance. "I endeavoured," he says, "to fill up the canvas, such as I supposed Velazquez would have done; and I had great facility in doing that, because if there was a man without a horse here, there was a horse without a man there, so I could easily take his execution as nearly as possible, and my own style of painting enabled me to keep pretty near the mark"(!). But the high lights of the sky, he particularly added, were untouched by him. So that there Ruskin was right. The picture, when restored to its owner, gave complete satisfaction, and Lance's share in it was kept a secret. A year or two later he must have felt a proud man. The picture was being exhibited at the British Gallery. In front of it Lance met two cognoscenti of his acquaintance. "It looks to me," he said, testing them, "as if it had been a good deal repainted."--"No! you're wrong there," they said; "it is remarkably free from repaints." It should be added that soon after the Parliamentary inquiry referred to above, a tracing of Goya's copy, procured from Madrid, showed in fact that the restored work differed but slightly from the copy, and Lance's work was probably far less important and extensive than he asserted. An idea of the original condition of the picture may be had from a reduced replica, or first sketch, now in the Wallace Collection.

[112] The view Diderot thus took of Greuze's art suggests the importance of historical perspective in criticism. Pictures, like everything else, should be judged with reference to contemporary circumstances, as well as by the standard of abstract principle. From the former point of view Greuze, as we have seen, is a moralist in painting. From the latter Ruskin suggests the consideration "how far the value of a girl's head by Greuze would be lowered in the market if the dress, which now leaves the bosom bare, were raised to the neck" (Modern Painters, vol. iii. pt. iv. chap. v. § 7).

[113] Another instance of this intimate union of art with business may be seen in the number of Dutch artists of the period who themselves held municipal office. See, for instance, Terburg (864) and Delen (1010). Many of the Italian painters also were men of business and of official standing. Thus Titian was a timber merchant; whilst Manni, Perugino, and Pinturicchio were all magistrates.

[114] "The bit of bluish ribbed paper on which he made his design in light and dark strokes, now gone brown, and which he had pricked through for the purpose of tracing the design on the panel, is framed beside it. He left it about, not thinking that in 350 years it would be under glass in the distant city of London, stared at by English roughs, who would say, "Sithee Bill, he's pricked it a' through with a pin, and spilt th' ile on it!" for there are two or three of these amber-coloured blurs which come from a sketch being inadvertently put down on a palette knife" (Letters of James Smetham, p. 168).

[115] These pictures, like the other Florentine works here exhibited, except 564 (which is on linen cloth attached to wood) and 276 (which is in fresco), are painted in tempera on wood. Tempera (or distemper) painting is a generic term for the various methods in which some other substance than oil was the medium. Various substances were thus used--such as gum, glue or size, flour-paste, white of egg, milk of figs. Cennino Cennini, who wrote a treatise on painting at the end of the fourteenth century, professes to give the exact method of Giotto. Egg beaten up with water was preferred by him, except where the yellowness of the mixture injured the purity of the colour. The colours thus mixed were laid on to a panel (or on to a cloth stretched over the panel) previously prepared with a smooth white ground of plaster. And finally oil or albumen was used to go over the whole surface. This was the practice in general use for all detached pictures until the middle of the fifteenth century, when what is known as "the Van Eyck method" came into vogue (see under 186).

=Fresco= painting is painting upon walls of wet plaster with earths of different colours diluted with water. It is so called from the colour being applied to the fresh wet surface of lime, but it is of two kinds: (1) fresco secco, when the plaster of lime has been allowed to dry on the wall and is then saturated with water before painting; this was the method in use till after Giotto's time; (2) buon fresco, when the colours are laid on to the fresh plaster before it is yet dry. (The fullest account of these various technical processes and their history is Sir C. Eastlake's "Materials for a History of Oil Painting," a review of which by Ruskin appeared in the Quarterly Review, and is reprinted in On the Old Road, vol. i.).

[116] The note in the Official Catalogue says that the picture does not correspond in the scheme of colour to the works of Velazquez's early period. On the other hand, "it shows so decided an affinity with the fine picture by Zurbaran, in the Palace of San Telmo, at Seville, not only in colouring but in every detail of the treatment, that there can be no doubt that the attribution to Velazquez was an error, and that Zurbaran is the true painter of this beautiful work, which may be considered the best picture he ever painted." But "we would fain see proof," says another critic, "that Zurbaran ever painted a head like that of the Divine Child. The rest of the picture recalls the early Seville manner of Velazquez in the style of Ribera" (Quarterly Review, April 1899).

[117] This picture, when first purchased for the National Gallery in 1853, was ascribed to Giorgione. For many years it was given to the "School of Bellini." In 1883 it was identified by Messrs. Crowe and Cavalcaselle as a work by Catena. Signor Morelli and other critics of his school supported this view, which in 1898 was adopted by the authorities of the Gallery. No. 694 has also been so attributed to him in the Catalogue. Other pictures which have at one time or another been connected with Catena are 599, 812, and 1160.

[118] "The roguish little terrier pretends not to see what is going on. But what are the partridges doing behind the chair of the Blessed Virgin? Was the Knight a worldling, given to sport, but arrested in the pursuit of pleasure by some inward voice or vision; and so, taking the result of the day's work, he lays it at the feet of the Divine Child and His Mother? Or was worship simply the pious Knight's godly commencement of the day? Why, too, is the dog so sly looking? Is that little mass of curly white wool a sceptic, doubting his master's good resolutions?" (Sophia Beale in Good Words, July 1895).

[119] Ruskin, in his classification of artists from this point of view, calls them "sensualists," reserving the traditional title "naturalists" to the greatest men, whose "subject is infinite as nature, their colour equally balanced splendour and sadness, reaching occasionally the highest degrees of both, and their chiaroscuro equally balanced between light and shade." This class represents the proper mean. In excess on one side are the "purists" (Angelico, Perugino, Memlinc, Stothard), who take the good and leave the evil. "The faces of their figures express no evil passions; the skies of their landscapes are without storm; the prevalent character of their colour is brightness, and of their chiaroscuro fulness of light." Then in excess on the other side are the "sensualists" (Salvator Rosa, Caravaggio, Ribera), who "perceive and imitate evil only. They cannot draw the trunk of a tree without blasting and shattering it, nor a sky except covered with stormy clouds; they delight in the beggary and brutality of the human race; their colour is for the most part subdued or lurid, and the greatest spaces of their pictures are occupied by darkness" (Stones of Venice, vol. ii. ch. vi.). Elsewhere, Ruskin speaks of Caravaggio and Ribera as "the black slaves of painting" (Elements of Drawing, p. 317).

[120] This is the story told by Dominici, the Neapolitan historian. According to Cean Bermudez, following Palomino (the Spanish historian), Ribera died at Naples honoured and rich.

[121] The tradition that he was a natural son of the Barbarella family, and in consequence called Barbarelli, appears to be unfounded.

[122] "Two figures of Giorgione's are still traceable, one of them (wrote Ruskin in 1846), singularly uninjured, is seen from far above and below the Rialto, flaming like the reflection of a sunset" (Modern Painters vol. i. ed. 3 pt. ii. sec. i. ch. vii. § 30). This beautiful figure was engraved by Ruskin for his fifth volume; he called her from her glowing colour "the Hesperid Aeglé."

[123] Ruskin's seven are Giorgione, Titian, Veronese, Tintoret, Correggio, Reynolds, and Turner (Modern Painters, vol. v. pt. ix. ch. xi, § 8, n).

[124] A reaction in this respect is observable in the latest writer on Giorgione (Mr. Herbert Cook in the "Great Masters" Series), who shows good cause for restoring many pictures to the master. The National Gallery, he says (p. 95), affords unrivalled opportunity for studying the various phases of Giorgione at different stages of his career. Nos. 1160 and 1173 represent his earliest style; No. 1123, his later; Nos. 269 and 636 are intermediate.

[125] A contemporary document, recently discovered, proves that the artist died of the plague. (See appendix to Mr. Herbert Cook's Giorgione, 1900).

[126] Lecture at Oxford 1884 (reported in Cook's Studies in Ruskin, p. 251). See also the "Traveller's edition" of the Stones of Venice, vol. ii. ch. vi., where the picture is described as "one which unites every artistic quality for which the painting of Venice has become renowned with a depth of symbolism and nobleness of manner exemplary of all that in any age of art has characterised its highest masters." A copy of this masterpiece is in the collection of the Arundel Society, now to be seen in the National Gallery.

[127] In an interesting discussion with Sir J. E. Millais, R.A., Mr. Watts, R.A., refers to the colours in this picture. Sir J. Millais had said that time and age are the greatest old masters, and that old Venetian colours were crude. Mr. Watts replied: "The colour of the best-preserved pictures by Titian shows a marked distinction between light flesh tones and white drapery. This is most distinctly seen in the small 'Noli me Tangere' in our National Gallery, in the so-called 'Venus' of the Tribune, and in the 'Flora' of the Uffizi, both in Florence, and in Bronzino's 'All is Vanity,' also in the National Gallery (651). In the last-named picture, for example, the colour is as crude and the surface as bare of mystery as if it had been painted yesterday. As a matter of fact, white unquestionably tones down, but never becomes colour; indeed, under favourable conditions, and having due regard to what is underneath, it changes very little. In the 'Noli me Tangere,' to which I have referred, the white sleeve of the Magdalen is still a beautiful white, quite different from the white of the fairest of Titian's flesh--proving that Titian never painted his flesh white" (Magazine of Art, January 1889).

[128] Or possibly at Vicenza. See Layard, i. 283 n. The words in the document relied upon to establish his birth at Vicenza are ambiguous, and may refer to his father.

[129] Its ascription to Botticelli's own hand is, however, questioned by many critics. Thus Dr. Richter says, "I know of no authentic picture by Botticelli in which the drawing of the hands and feet is so poor and coarse as are here, for instance, those of the Infant Saviour; the type of the child is positively repulsive, whereas in Botticelli's own works it is pre-eminently in the representation of the Infant Christ that his great merits are strikingly apparent" (Lectures on the National Gallery, p. 62). The child, whether painted by Botticelli or by another hand, is undeniably ugly; but the expression of the Madonna, and the figures of the Baptist and the Angel seem to me to show certainly the work of the master himself. Moreover, the critics who dispute the authenticity of this picture admit that of No. 915. Yet, as "D. S. M." says, "the mother here is the same person as the Venus, looking out of the picture with the same effect of gentle detachment, circumscribed with the same draughtsman's lines; the infant, whose type Dr. Richter finds 'positively repulsive,' is the same infant as the Satyrs of the other picture, and so all through" (Saturday Review, Feb. 18, 1899). On the back of the panel is written in the style of the 16th century the name of Giuliano da San Gallo, the celebrated architect, who was also a painter. There are drawings from his hand in the British Museum, which show that he came from Botticelli's school. His name on the back of this picture proves, it is argued, that it is by him. It may, however, very probably only signify that the picture formerly belonged to him.

[130] Mr. Pater, in a well-known passage, gives a different explanation of the peculiar sentiment in Botticelli's Madonnas. "Perhaps you have sometimes wondered why they attract you more and more, and often come--although conformed to no obvious type of beauty--back to you when the Madonnas of Raphael and the Virgins of Fra Angelico are forgotten. At first, contrasting them with those, you may have thought that there was something even mean or abject in them, for the lines of the face have little nobleness, and the colour is wan. For with Botticelli she too, though she holds in her hands the 'Desire of all Nations,' is one of those who are neither for God nor for his enemies (see under III. 1126), and her choice is on her face. She shrinks from the presence of the Divine Child, and pleads in unmistakable undertones for a warmer, lower humanity" (W. H. Pater: Studies of the Renaissance).

You promise heavens free from strife, Pure truth and perfect change of will; But sweet, sweet is this human life, So sweet I fain would breathe it still. Your chilly stars I can forgo: This warm, kind world is all I know.

IONICA: Mimnermus in Church.

[131]

The moon of Rome, chaste as the icicle That's curdied by the frost from purest snow And hangs on Dian's temple.

[132] The doors of the temple of "two-headed Janus" at Rome were always thrown open when the State was at war, and only closed in time of peace.

[133] The whole, or part, of this picture was at one time freely ascribed to Raphael; but Morelli has effectually disposed of the superstition by showing, amongst other arguments, that the drawings for Tobias and the Angel (in the Oxford University Gallery and in the British Museum) are undoubtedly by Perugino (Italian Art in the German Galleries, 1883, p. 289). The Oxford drawing is described and discussed, on the assumption that it is by Raphael, in Sir J. C. Robinson's Drawings by Michael Angelo and Raffaello, p. 129.

[134] For a record of his movements the reader may refer to Morelli's Italian Masters in German Galleries, 1883, pp. 285-291.

[135] Vasari's bias against the Umbrian master is too marked for any of his attacks to be accepted without corroboration.

[136] In a critique of F. Walker's "Fishmongers' Stalls," Ruskin says: "If the reader will waste five minutes of his season in London in the National Gallery, he may see in the hand of Perugino's Tobias a fish worth all these on the boards together" (Arrows of the Chace, i. 177).

[137] With regard to the "purist ideal" it should be noticed that "these fantasies of the earlier painters, though they darkened faith, never hardened feeling; on the contrary, the frankness of their unlikelihood proceeded mainly from the endeavour on the part of the painter to express, not the actual fact, but the enthusiastic state of his own feelings about the fact; he covers the Virgin's dress with gold, not with any idea of representing the Virgin as she ever was, or ever will be seen, but with a burning desire to show what his love and reverence would think fittest for her. He erects for the stable a Lombardic portico, not because he supposes the Lombardi to have built stables in Palestine in the days of Tiberius, but to show that the manger in which Christ was laid is, in his eyes, nobler than the grandest architecture in the world. He fills his landscape with church spires and silver streams, not because he supposes that either were in sight at Bethlehem, but to remind the beholder of the peaceful course and succeeding power of Christianity" (Modern Painters, vol. iii. pt. iv. ch. iv. § 10). For a different kind of feeling in "naturalistic" art, see under 744.

[138] Visitors who are interested in such points of connoisseurship may be glad of this summary with regard to the works ascribed in the Official Catalogue to the associated painters, Fra Filippo Lippi, Filippino Lippi, and Botticelli. The undisputed pictures of Fra Filippo are 248, 666, and 667; of Filippino, 293 and 927. The pictures 592 and 1033 have marked resemblances both to Fra Filippo, Filippino, and to Botticelli, and are ascribed by different critics to one or other of those masters or pupils. 598 and 1124 are often ascribed to a pupil of Filippino; the pictures 586 and 589 to a pupil of Fra Filippo. The undisputed pictures of Botticelli are 1034 and 1126. The pictures 226, 275, 782, 915, and 916, are all ascribed by some critics to a pupil of his only, whilst to Botticelli himself has now been ascribed the portrait 626, formerly classed as "Unknown." To a supposed painter, christened by the critics "Amico di Sandro," 1124 and 1412 are attributed.

[139] Layard, ii. 621. Similarly Ruskin says: "The possession of the Pisani Veronese will happily enable the English public and the English artist to convince themselves how sincerity and simplicity in statements of fact, power of draughtsmanship, and joy in colour, were associated in a perfect balance in the great workmen in Venice" (Catalogue of the Turner Sketches and Drawings, 1858, p. 10). As an instance of Veronese's "economical work"--a sure sign of a great painter--Ruskin refers to "the painting of the pearls on the breast of the nearer princess, in our best Paul Veronese. The lowest is about the size of a small hazel nut, and falls on her rose-red dress. Any other but a Venetian would have put a complete piece of white paint over the dress, for the whole pearl, and painted that into the colours of the stone. But Veronese knows beforehand that all the dark side of the pearl will reflect the red of the dress. He will not put white over the red, only to put red over the white again. He leaves the actual dress for the dark side of the pearl, and with two small separate touches, one white, another brown, places its high light and shadow. This he does with perfect care and calm: but in two decisive seconds. There is no dash nor display, nor hurry, nor error. The exactly right thing is done in the exactly right place, and not one atom of colour, nor moment of time spent vainly. Look close at the two touches,--you wonder what they mean. Retire six feet from the picture--the pearl is there!" (Modern Painters, vol. v. pt. viii. ch. iv. § 18). "One of the chief delights which any one who really enjoys painting finds in that art as distinct from sculpture, is in the exquisite inlaying or joiner's work of it, the fitting of edge to edge with a manual skill, precisely correspondent to the close application of crowded notes without the least slur, in fine harp or piano-playing. In many of the finest works of colour on a large scale, there is even some admission of the quality given to a painted window by the dark lead bars between the pieces of glass. Both Tintoret and Veronese, when they paint on dark grounds, continually stop short with their tints just before they touch others, leaving the dark ground showing between in a narrow bar. In the Paul Veronese in the National Gallery, you will find every here and there pieces of outline which you would suppose were drawn with a brown pencil. But no! look close, and you will find that they are the dark ground left between two tints, brought close to each other without touching" (Lectures on Landscape, § 68). Elsewhere, Ruskin calls special attention to the painting of "the drooped left hand of the princess, holding her crown" (Academy Notes, 1858, p. 46).

[140] An even more striking instance is to be found in Veronese's picture of the Last Supper, now in the Academy of Venice. Here too he introduced his favourite dog, as well as dwarfs and armed retainers. He was summoned before the Inquisition for such irreverent anachronisms; and the account of his cross-examination is most amusing and instructive reading. A translation will be found in the appendix to Ruskin's Guide to the Academy at Venice.

[141] Some readers may like to be referred to the passages in which Ruskin discusses the place of the dog in art, with special reference to Veronese. They are, Modern Painters, vol. v. pt. ix. ch. vi., and The Eagle's Nest, i. ch. viii.

[142] Richter (Italian Art in the National Gallery, p. 74) disputes this. The kneeling girls are, he believes, the artist's daughters, whom he has also introduced into a picture in the Louvre, and the courtier presenting them is Veronese himself.

[143] The pattern of the Madonna's robe in this picture is worth notice--"a good specimen of the treatment, probably taken from Persian examples, of a ground sprinkled with conventional sprays of flowers spaced regularly" (Vacher).

[144] The three portraits, 1022, 1023, and 1025, formerly in the Casa Fenaroli at Brescia, were there all attributed to Moretto. Signor Morelli was the first to recognise in the two former the hand and mind of Moroni, under whose name they were sold to the National Gallery.

[145] Mr. Dickes's ingenious and interesting explanation is now accepted by the authorities, and there can be little doubt of its correctness. The motto had previously been misread as του λιαν ποθω which was interpreted "by the desire of the extreme." The picture was for many years in the possession of the Martinengo Cesaresco family, and passed for a portrait of their ancestor Count Sciarra. The motto was interpreted as referring to the Count's desire to avenge the death of his father, who had been assassinated. The desire of the extreme, the activity of a restless spirit, was with the Count to the end, and he died fighting in France in the campaign which ended in a defeat of the Huguenots at the battle of Moncontour, October 3, 1569. But the Count Sciarra was a soldier-adventurer, showing no characteristics accordant with the nobleman before us other than that, according to a Brescian historian, "his eyes gleamed with an unconquerable desire." But the inscription is undoubtedly as given in the text, the accents being all clearly marked. The portrait is clearly not of a restless man of action, so much as of a dilettante. The dates of the Count Sciarra's career are also inconsistent with his being painted in this picture of Moretto's best period. The statements on behalf of the traditional identification made by the Contessa Evelyn Martinengo Cesaresco (Athenæum, Aug. 12, 1893) do not touch the points.

[146] The feeling which one may thus find in these paintings of four centuries ago still lingers amongst the Italian peasantry, as readers of Miss Alexander's Roadside Songs and Christ's Folk in the Apennine (both edited by Mr. Ruskin) will know.

[147] It may be worth noting that, according to the son of Turner's friend, Trimmer, this picture "had an entire new sky painted at the desire of Lawrence and other brother artists, who, when he had altered it, said the picture was ruined" (Thornbury's Life of Turner, i. 175).

[148] Dr. Richter, in laying down the law to the contrary, gives too narrow an interpretation to Vasari's words. The Margaritone is certainly inferior to the best Byzantine work, but it adheres to the characteristics noticed above. Dr. Richter says: "This curious, if uninteresting painter, in all probability would never have emerged from his modest sphere of awkward provincialism into the full light of history but for the special praise bestowed upon him by his obliging countryman, Vasari. The latter states definitely, among other things, that Margaritone painted in the maniera greca; nevertheless, a single glance at the picture in the National Gallery is sufficient to convince the beholder that in reality this is not the case. Margaritone's pictures appear to me to be drawn in the wild and grotesque style prevalent in Italy during the early middle ages" (Lectures on the National Gallery, p. 11).

[149] Dr. Richter ascribes all these pictures to the School of Duccio (see Lectures on the National Gallery, pp. 4-10.).

[150] So described in the Official Catalogue. But "is the female saint on the right wing of the triptych really St. Catherine of Alexandria? Only the beginning of the inscription on either side of the figure containing the name can here still be deciphered. It runs thus: SCA (Saint) AL. The reading 'Catherine' thus apparently becomes inadmissible. Besides, the emblems of this female saint are decidedly not those of Catherine of Alexandria, who is always represented with a wheel as the emblem of her martyrdom, while the saint in the picture before us holds in her right hand a palm branch (?) and in her left a small cross, the emblem of confessors" (Richter's Italian Art in the National Gallery, p. 9).

[151] This head is said to bear a marked resemblance to Mr. Swinburne as a young man (see W. B. Scott's Autobiographical Notes, ii. 18).

[152] It was a practice at Italian weddings that the bride should be presented, as part of her dowry, with a coffer, which was intended to hold her trousseau and wedding presents. Some very fine specimens of these cassoni may be seen in the South Kensington Museum. They belong principally to the 14th, 15th, and 16th centuries. The typical cassone measured about six feet in length by two in height and two in breadth. The front and ends were decorated with paintings or carvings. The subjects depicted are either marriage scenes or stories borrowed from the Scriptures, from the classics, or from Petrarch. Many of the panel pictures in the National Gallery once adorned these cassoni. See, for instance, Nos. 1218 and 1219. A favourite subject was the allegory entitled "The Triumph of Love, Chastity, and Death," of which an excellent example is at South Kensington. The panel in this Gallery, No. 1196, has a similar subject.

[153] This picture and the tondo of the same subject (1033) are by many critics ascribed to Botticelli. "In my opinion," says Morelli, "the two excellent but somewhat defaced pictures in the National Gallery, 592 and 1033, are works not of Filippino, but of Botticelli, whose dramatic powers are well displayed here" (Italian Masters in German Galleries, p. 236). For a full discussion leading to the same conclusion, see Monkhouse's In the National Gallery, p. 73.

[154] Miss Betham-Edwards, on a visit to the painter at By, was shown some sketches for "The Horse Fair." "'There you have a Boulonnais,' I observed, as we contemplated the study of a fine black cart-horse. This remark gratified her. 'I am glad to find a stranger so much interested in our cart-horses'" (Anglo-French Reminiscences, ch. xxv.). Rosa Bonheur's knowledge of the animal world of France was very wide and precise.

[155] This was Rosa Bonheur's own faith. "I believe," she once said, "in a just God, and a Paradise of the just. But religion (i.e. the religion of Rome) does not altogether satisfy me. I hold it monstrous that animals are supposed to be without souls. My poor lioness loved me. Thus she had more soul than certain human beings who do not know what it is to love anything."

[156] "Giulio Romano did a little of everything for the Dukes of Mantua,--from painting the most delicate and improper little fresco for a bedchamber, to restraining the Po and Mincio with immense dykes, restoring ancient edifices and building new ones, draining swamps and demolishing and reconstructing whole streets, painting palaces and churches, and designing the city slaughter-house" (W. D. Howells's Italian Journeys, "Ducal Mantua"). Giulio's departure from Rome to Mantua was due to the scandal caused by the publication of some obscene designs of his (see Symonds, v. 341).

[157] "The piece of St. Catherine's dress over her shoulders is painted on the under dress, after that was dry. All its value would have been lost, had the slightest tint or trace of it been given previously. This picture, I think, and certainly many of Tintoret's, are painted on dark grounds; but this is to save time, and with some loss to the future brightness of the colour" (Modern Painters, vol. v. pt. viii. ch. iv. § 17 n.).

[158] Robert Browning, however, notes "the bonne bourgeoisie of his pictures; the dear common folk of his crowds, divinely pure they all are, but fresh from the streets and market-place" (Letters of Robert and E. B. Browning, i. 197). Mr. Langton Douglas in an illustrated monograph on Fra Angelico (1900) lays stress on the painter's "strength and freedom" as shown in the "Adoration of the Magi" at San Marco, or the "San Lorenzo giving alms" in the studio of Pope Nicholas; illustrates the influence of contemporary architecture and sculpture on his work; and characterises him not as "a saint with a happy knack of illustration," but as "an artist who happened to be a saint."

[159] "This," says Mr. Hipkins of the present picture, "is the grandest and most extended mediæval band on record, worthy of the heavenly Host, to declare the praises of the Blessed Trinity." Mr. Hipkins gives an interesting identification and description of the instruments employed. To the left of the centre compartment we may find a viol, a rebec, a clarion, trumpets, harp, cither, double flute, and psaltery--also a tambourine, beaten with the hand, a tabor, and a portable organ. In the centre, under Christ, are two organs. The player on the pipe and tabor, left of the Redeemer, blows what seems to be a short French whistle. "Next to this musician is a cymbal player. The time beater is apparently no less required where time exists no more than he is in our terrestrial world; such discipline of rhythm is hereby sanctified." "In the upper rows, on the left hand of the Redeemer, we see one of those large guitar-viols which were used by the troubadours" (see further The Hobby Horse, No. 1, 1893, pp. 14-16).

[160] "The many small figures which are seen here surrounded by a celestial glory are so beautiful," says Vasari of this picture, "that they appear to be truly beings of paradise; nor can he who approaches them be ever weary of regarding their beauty."

[161] Now ascribed by many critics to Bouts (see 783).

[162] Or more correctly, Piero dei' Franceschi, after the family name of his mother. Her Christian name was Romana, and Piero's father, it has now been ascertained, continued living during many years of his son's career. The year of Piero's birth is unknown.

[163] This is a more charitable judgment than contemporary documents would suggest. In 1450 Fra Filippo was thrown into prison for a debt which he denied, and under torture confessed that he had forged the receipt. He was deprived of his rectory, and appealed to the Pope, who, however, confirmed the sentence, in a brief in which the painter is accused of "numerous and abominable wickednesses."

[164] It is interesting to note the cartellino, or little card at the foot of the picture, on which Antonello inscribes his name and the date. This cartellino was taken as a model by Giovanni Bellini and subsequent Venetian artists (see e.g. 189 and 280).

[165] Comparing him with Italian painters, his period of activity is seen to be coincident with the earlier work of Carpaccio and Perugino; he died while Raphael was still a boy. Crowe and Cavalcaselle have shown that Memlinc's work was well known and appreciated among Italian connoisseurs of the time.

[166] I venture to retain this title, though the Official Catalogue assures us that it is but "a pleasing illusion," as "the features and the general form of head have little or no resemblance to the quite authentic portraits of Andrea" at Florence, "or to that engraved by Vasari, who was personally acquainted with the painter. If (adds the catalogue) the object in the hands represents, as it well may, a piece of modelling-clay, the subject of the portrait was probably a Florentine sculptor." In that case we may perhaps save our "pleasing illusion" by supposing that Andrea interpreted the expression of a fellow-artist by his own experience. But the case is by no means clear. The earlier portrait in the Uffizi is not very unlike ours. In the later some resemblance remains, though the face has coarsened. But this is a matter on which every one must see resemblances or otherwise for himself. (Reproductions will be found in the monograph on the painter in the "Great Masters" series. The author, H. Guinness, considers the authenticity of our portrait to be "beyond question," p. 23).

[167] Lucrezia's character has, however, been whitewashed of late years: see Gazette des Beaux Arts, December 1876 and three following months.

[168] This delightful picture, which has hitherto been ascribed to Bellini himself, is now (1898) attributed in the official catalogue to Catena (see 234).

[169] "The pet portrait of the lecturer was Moroni's 'Tailor.' Luckily the original painting was in the National Gallery, and all interested could judge for themselves whether, for simplicity, expression, drawing, colour, and above all, soul, the portrait had a rival" (Report of a lecture on "Portraiture" by Mr. Harry Furniss).

[170] In a red-figured vase in the British Museum (E 477 in the Third Vase Room) there is a picture of this same subject. "The drawing," says Miss Harrison, "is somewhat coarse, and the painter seems to be struggling with a subject that is expressively too much for him. Procris sinks in death in an odd, ill-drawn attitude; her soul escapes in the form of a bird, Kephalos smites his head in despair, the dog Lailaps watches concerned. Erechtheus, the old king-father, is at hand to sympathise; the curt archaic symbolism of attitude, the utterance of mere gesture, is at fault here. The story was pregnant with modern suggestion. It had to wait, so to speak, for the delicate imagination of the Renaissance painter, Piero di Cosimo, to make us feel the contrast between the dead woman, over-sentient, passion-slain, and the shaggy faun, kindly perplexed, and the dumb, faithful dog; between the soft slack peace of the woodland and the terrible tension of humanity" (Magazine of Art, 1894, p. 61).

[171] Formerly ascribed to Margaret van Eyck.

[172] Formerly ascribed to Van der Goes.

[173]

The clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality.

WORDSWORTH.

[174] The existence of this supposed younger Foppa, and the date 1492 (rather than 1502) must be considered doubtful in view of the researches published by C. J. Ffoulkes in the Athenæum, February 15, 1902.

[175] "Velazquez has left a great number of striking pictures, each containing a single figure. The Count de Pourtalès, in the collection at Paris (from which this picture was bought in 1865), has an excellent specimen of one of these studies, called 'The Dead Orlando'" (Stirling's Annals of the Artists of Spain, 1848, p. 680). Other authorities ascribe the picture to Valdes Leal (see 1291).

[176] Among other points we may notice the beautiful landscape; "Nothing can be more perfect in pictorial effect than the old wall, the distant roofs, the gleams of light on water, and the exquisite tones of gray" (Gilbert's Landscape in Art, p. 263).

[177] It may be interesting to note what Raphael's method actually was. He writes to Count Baldassare Castiglione, in a complimentary way: "To paint a beautiful woman, I must see several, with this condition, that your lordship be near me to select the loveliest. But there being a dearth both of good judges and of beautiful women, I make use of a certain idea that comes into my mind. Whether with benefit to art, I know not; but I strive to form such an ideal in my mind."

[178] Readers of Ruskin will remember the high praise accorded to Richter's illustrations of the Lord's Prayer and other engravings in The Elements of Drawing.

[179] See their Vittore Carpaccio et la Confrérie de Sainte Ursule, pp. 9-10, and Vittore Carpaccio, Le Vite e le Opere.

[180] Raphael was born in 1483. In 1491 his mother died.

[181] "Pisano's dragon is a pleasant-looking animal, wild-boar faced, and smilingly showing his fangs, as he crouches by the eminently gentlemanly St. George in the silver-plated and gilt armour; and a word in passing must be said for the lovely hog, with a broad grin overspreading his countenance, who accompanies the placid St. Anthony. Is not St. George, in the broad Tuscan hat, the personification of John Inglesant as il Cavaliere di San Giorgio?" (S. Beale in Good Words, July 1895).

[182] "A splendid example of the naïve humour of the painter. There is the father, somewhat sly, and the eldest son resembling him but less 'cute. The next head is that of a jolly, sandy-haired fellow. Then comes the reprobate, with a sensual upper lip, the only one in the family; all the others have thin, long slit mouths, as well as long straight noses. Behind, are the poor relations. We see the good, hard-working cousin, who has found life too much for him; the self-approving fellow, who thanks God he is not as other men are; and above him the man who, if he has been saved from committing some terrible crime, certainly owes his exemption to God's mercy, not, we may be sure, to his own strength of will. On the other side are the ladies of the family. The severe mamma, with flat brow, a veritable Mrs. Grundy. The daughter, evidently a worldling by the jewelled band round her forehead, is praying, because it is the business of the moment. The easy-going maiden above her has taken to religious life because it affords her a certain amount of distinction, with a little soul-saving. Behind, is the old great-aunt, a really pious soul, who has adopted conventual life from a devout conviction that she could live better and do more good as a member of a community than dwelling in the world. Above, are two fat-faced children, both more or less bored; and behind them is another, fascinated by the jewels of her kinswomen" (S. Beale in Good Words, July 1895).

[183] See Richter's Italian Art in the National Gallery, p. 44, where a résumé of recent criticism and a facsimile of the Albertina drawing will be found. Signor Frizzoni, cited with approval by Richter, says: "Although the composition seems to me not in the least attractive, nor even successful (and for this very reason the picture might have been left unfinished), yet I cannot but consider it to be an original, and, moreover, a specially interesting one, and worthy of being looked at closely by those who wish to study the master in the numerous characteristic features of his style. In my opinion it is an early work by him; and this becomes evident especially from the purity and delicacy in the features of one of the Maries, standing on the right side, in which, if I am not mistaken, the pure types of his first master, Domenico Ghirlandaio, are much more perceptible than Buonarroti's own grand style. In other parts, however, the sculpturesque manner of modelling peculiar to him is not less noticeable--in the muscles, sturdy as usual, and in the prominent rendering of the corpse." Symonds, on the other hand, has no hesitation in rejecting the picture. "It is," he says, "painful to believe that at any period of his life Michelangelo could have produced a composition so discordant, so unsatisfactory in some anatomical details, so feelingless and ugly. It bears indubitable traces of his influence; that is apparent in the figure of the dead Christ. But this colossal nude, with the massive chest and attenuated legs, reminds us of his manner in old age; whereas the rest of the picture shows no trace of that manner. I am inclined to think that the Entombment was the production of a second-rate craftsman, working upon some design made by Michelangelo at the advanced period when the Passion of our Lord occupied his thoughts in Rome. Even so, the spirit of the drawing must have been imperfectly assimilated; and, what is more puzzling, the composition does not recall the style of Michelangelo's old age. The colouring, so far as we can understand it, rather suggests Pontormo" (The Life of Michelangelo, 1893, i. 68). Sir Edward Poynter, on the other hand, will hear of no doubt: "There is," he says, "no doubt whatever that this picture is the work of the great master. The originality of the composition, the magnificent dignity of the poses, the perfection of the modelling, combined with the profound knowledge and subtle play of the anatomical forms where the work is complete, and the exquisite beauty of the drapery, all stamp it as a work which, if completed, would have been one of the masterpieces of the world, and possible to no one but the great master of design. It is thought desirable to insist on the grand qualities of this picture, because it has been ascribed to Bandinelli, a bombastic sculptor, quite incapable either of the refinement or of the subtle feeling for nature which is evident in all the finished portions of this work" (The National Gallery, i. 72).

[184] According to one of the dramatic critics in the daily press, Sir Henry Irving in playing Richelieu was made up to resemble closely this picture; and (added the critic) the actor brought out the three sides of Richelieu's character here depicted. "At times we see him as the pitiless, unscrupulous man who forced himself from obscurity to a power greater than his monarch's; at others we see the fine courteous gentleman who patronised literature, founded the French Academy, and collaborated in half a dozen bad plays; and there is also not a little of the paltry, small-minded tyrant of whom Corneille said--

Il m'a trop fait de bien pour en dire du mal. Il m'a trop fait de mal pour en dire du bien."

[185] See Morelli's German Galleries, p. 393. He dismisses the idea of an original Vicentine School as one which "cannot be entertained at all."

[186] "By Gentile Bellini, and not by Giovanni, as stated in the Catalogue. The latter artist drew the ear of a different shape than did his brother Gentile" (Morelli: German Galleries, p. 10 n.). If by Gentile, the signature is forged or altered.

[187] "I subjoin," writes the poet to his mother (December 23, 1880), "a sonnet I have done on the Michelangelo in the National Gallery. In this picture the Virgin is withdrawing from the child the book which contains the prophecy of his sufferings--I suppose that of Isaiah. The idea is a most beautiful one; and behind the group are angels perusing a scroll. Shields was helpful to me in the interpretation of this" (Letters and Memoir, ii. 365).

[188] Signed Joannes Bellini, but by some critics ascribed to Gentile Bellini. See Frizzoni's Arte Italiana del Rinascimento, p. 314.

[189] To the same effect, Sir Edward Poynter: "The painting of the green forest is the most perfectly beautiful piece of workmanship that ever was put into a picture" (Lectures on Art, p. 128).

[190] But see note on No. 53.

[191] "Unfortunately, Hobbema has allowed some one, apparently Wyntrank, to put a few ducks into the foreground. They are not wanted, and the manipulation required to fit them in has caused the lower part of the picture to darken disagreeably" (Armstrong: Notes on the National Gallery, p. 38).

[192] Ruskin speaks of him as an artist "first-rate in an inferior line" (On the Old Road, i. 558).

[193] Some of Mr. Gladstone's purchases for the National Gallery are noticed in the introduction to Appendix II. The "Ansidei Madonna" was also purchased by a special vote when he was in power. The Gallery owes the present picture to Mr. Disraeli's taste. "I happened," says Sir William Fraser in his Disraeli and his Day, "to be at the saleroom in King Street: the crowd was considerable. A picture was on the easel for sale; I did not know the name of the painter: the subject, 'The Nativity,' of the pre-Raphaelite school. I was so charmed with it that I bid up to two thousand pounds. I then felt that I could not trust my judgment further: that I might be mistaken: and that the picture might be 'run up' for trade purposes. It was bought for £2415. A few days afterwards I met Mr. C. Having noticed him in the crowd, I said, 'Do you happen to know who bought that "Francesca"?' 'I did. Disraeli told me to buy it for the National Gallery.'"

[194] The fondness of the Old Masters for the brute creation is illustrated in this picture, as in so many others. The ox is evidently fascinated by the music; the ass is disturbed and brays fiercely. Note also the goldfinch upon the roof.

[195] "The painter must, for the present, remain as an unknown Umbrian, almost equally influenced by Pinturicchio and Signorelli, and with peculiar qualities of simple grace and romance, which give his work an extremely individual character" (Cruttwell's Signorelli, p. 117).

[196] English readers will find some account, with occasional translations, of Poliziano's poem in Symonds's Sketches and Studies in Italy and Greece, ii. 334, and Renaissance, iv. 350. Symonds, had already remarked that much of the poem is like a picture of Botticelli. The same painter's "Birth of Venus" may have been suggested by stanza 99 of Poliziano, though the peculiar sentiment of that famous picture is the painter's own. See also under 916.

[197] "We venture to ask," says Dr. Richter, "is this really an Italian picture?" (Italian Art in the National Gallery, p. 87).

[198] The figures are by Tiepolo (see under 1192).

[199] Visitors who have been to Venice will remember that "Carpaccio trusts for the chief splendour of any festa in cities to the patterns of the draperies hung out of windows" (Bible of Amiens, p. 3).

[200] Or, according to Mr. Berenson, of Alvise Vivarini and Lotto (see his Lorenzo Lotto, pp. 113, 304).

[201] It was exhibited at the "Old Masters" exhibition in 1873 as a Raphael. Mr. Ruskin, who had noticed it there, wrote to Mr. Fairfax Murray, "Please look at the Raphael, and tell me how far the colour may have changed on St. John's shoulder and in Judas' dress, and how far the fantastic shot silks of this last are absolutely as they were."

[202] It is a repetition with but slight variations of the Medici picture in the Uffizi.

[203] "The early Italian masters felt themselves so indebted to, and formed by, the master-craftsman who had mainly disciplined their fingers, whether in work on gold or marble, that they practically considered him their father, and took his name rather than their own; so that most of the great Italian workmen are now known, not by their own names, but by those of their masters (or of their native towns or villages--these being recognised as masters also), the master being himself often entirely forgotten by the public, and eclipsed by his pupil; but immortal in his pupil, and named in his name.... All which I beg you to take to heart and meditate on concerning Mastership and Pupilage" (Fors Clavigera, 1872, xxii. 3, 4). Vasari's story may be true, says Dr. Richter, "even though no contemporary record of a goldsmith called Botticello has been found. We know, however, that he had a brother, Giovanni Battista, a carpenter and frame-maker of some repute, nicknamed Botticegli, i.e. 'Little Barrel'; this nickname may have been inherited by the younger brother" (Lectures on the National Gallery, p. 48).

[204] See Richter's Lectures on the National Gallery for the list, p. 46.

[205] Reference may be made also to Mr. Swinburne's "Notes on Designs of the Old Masters at Florence" (first published in the Fortnightly Review for July 1868), in which he speaks of "the faint and almost painful grace which gives a distinct value and curious charm to all the works of Botticelli." At an auction in 1867 D. G. Rossetti picked up a Botticelli for £20. "If he had not something to do," writes his brother, "with the vogue which soon afterwards began to attach to that fascinating master, I am under a misapprehension." Pater's essay first appeared in the Fortnightly Review of August 1870. Ruskin's first mention of Botticelli was in a lecture delivered at Oxford during the Lent Term, 1871. Carpaccio had been proclaimed in a lecture of the preceding year, and it became a standing joke among the profane to ask who was Ruskin's last "greatest painter." It was in answer thereto that Mr. Bourdillon wrote:

To us this star or that seems bright, And oft some headlong meteor's flight Holds for awhile our raptured sight. But he discerns each noble star; The least is only the most far, Whose worlds, may be, the mightiest are.

[206] "The dress appears to have been originally crimson or pink. If so, it has faded to so agreeable a tone that one could hardly wish it otherwise" (Poynter).

[207] The visitor should contrast Canaletto's painting of still water with Turner's (see under 535).

[208] "Upon asking how he had been taught the art of a cognoscento so very suddenly, he assured me that nothing was more easy. The whole secret consisted in a strict adherence to two rules: the one, always to observe that the picture might have been better if the painter had taken more pains; and the other to praise the works of Pietro Perugino" (Vicar of Wakefield, ch. xx.).

[209] The author of the catalogue of the Burlington Fine Arts Club's Exhibition of 1898 maintains that the two side panels are later in date than the central panel, and have no connection with it (p. xxxvii.).

[210] Sir Walter Armstrong attributes No. 1079 to David. "The National Gallery possesses one of the best of David's authenticated works (1045), and a comparison between it and the "Adoration of the Magi," numbered 1079, goes far to prove them to be by one hand. Compare, for instance, the figure of the beggar in the one picture with that of St. Joseph in shadow behind the Virgin, in the other. And the evidence of style is confirmed by a curious discovery that I happened to make one bright day, when the glass was off the latter picture. Low down in the left-hand corner the word OUVVATER is written in a way that precludes the notion of forgery, for it has been scratched with, perhaps, the butt end of a brush, while the paint was still wet, so that the red under-painting shows through the letters. David was born at Ouwater, or Oudewater, about 1450, and did not migrate to Bruges till 1484" (Notes on the National Gallery, p. 29).

[211] See Morley's Diderot, ii. 62. "Yet he cannot refuse to concede about one of Boucher's pictures that after all he would be glad to possess it. Every time you saw it, he says, you would find fault with it, yet you would go on looking at it. This is perhaps what the severest modern amateur, as he strolls carelessly through the French school at his leisure, would not in his heart care to deny."

[212] Ruskin speaks under the head of typical beauty (of beauty, that is, as typical of divine attributes) of the absolute necessity in pictures for some suggestion of infinity. "Escape, Hope, Infinity, by whatever conventionalism sought, the device is the same in all, the instinct constant" (Modern Painters, vol. ii. pt. iii. sec. i. ch. v. §§ 7, 8).

[213] Ruskin finds Leonardo's landscape unconvincing. "In realisation of detail he verges on the ornamental; in his rock outlines he has all the deficiencies and little of the feeling of the earlier men. The rocks are grotesque without being ideal, and extraordinary without being impressive." "The forms of rock in Leonardo's celebrated 'Vierge aux Rochers' are literally no better than those on a china plate" (Modern Painters, vol. i. pt. ii. sec. i. ch. vii. § 13; Edinburgh Lectures on Architecture and Painting, p. 157). A high authority on the Alpine region, Mr. Douglas Freshfield, has suggested that the originals of Leonardo's backgrounds are to be found among the mountains between Val Sassina and the Lago di Lecco: "The last spurs of the Alps are here singularly picturesque. The bold forms of the Corno di Canzo and Monte Baro break down to display the shining pools of the Laghi di Pusiano and d' Annone. Hither Leonardo may have come, and looking across the narrow lake or from beside some smaller pool or stream at the stiff upright rocks of the Grigna and the Resegone, have conceived the strange backgrounds with which we are all familiar" (Italian Alps, 1875, p. 126). Mr. Freshfield's suggestion is borne out by Leonardo's own topographical notes, since published. He had visited the district and specially remarks upon its fantastic rocks.

[214] When in the Hamilton Collection, this picture was ascribed to Giorgione. Some critics strongly dispute the ascription (see, e.g., Richter's Italian Art in the National Gallery, p. 87), others accept it (see, e.g., an article in the Times, July 26, 1882). Sir Edward Poynter says: "The qualities of colour and painting in this picture so closely resemble those of the famous 'Fête Champêtre' by Giorgione in the Louvre, that it is difficult not to believe that the two pictures are by the same hand, and that, if the Louvre picture is rightly named, the original attribution to Giorgione may be correct" (National Gallery, i. 24). Mr. Herbert Cook is of the same opinion: "The figures, with their compactly built and rounded limbs, are such as Giorgione loved to model, the sweep of draperies and the splendid line indicate a consummate master, the idyllic landscape is just such as we see in the Louvre picture and elsewhere, the glow and splendour of the whole reveal a master of tone and colouring" (Giorgione, p. 94). As an illustration of the uncertainty of criticism it may be interesting to append the observations on Sir E. Poynter's remarks made by a writer in the Daily Telegraph of Dec. 29, 1899: "In reality no two works belonging to more or less the same period of Venetian art could be more utterly different. The Hamilton Palace picture is a soulless and second-rate production, dating a good many years later than the Louvre idyll, wholly different from it in handling, and remarkable only for its beautiful golden tone. The Louvre 'Fête Champêtre'--a late example of the divine master--is one of the loveliest and most characteristic pieces produced in the early prime of Venetian painting. Should the 'Venus and Adonis' be set down to Giorgione, the misrepresentation in the National Gallery of a unique figure in art would be complete."

[215] By Mr. Berenson to "Amico di Sandro."

[216] "The figures are ill-proportioned and want expression and character. They are more probably by a scholar or imitator" (Layard's Kugler, vol. i. p. 289).

[217] Critics of the modern school assert that the picture was not executed by Botticelli, even if it was designed by him; it bears, they say, "no trace of his style" (see, e.g., Richter's Lectures and Frizzoni's Arte Italiana del Rinascimento). Ruskin was on the same side: "I hope you know Botticelli well enough," he wrote to Mr. Fairfax Murray (February 14, 1873), "not to think you'll have to copy stuff like that arms-akimbo thing. By the way, what have they all got, like truncheons? They look like a lot of opera-directors." Dr. Uhlmann in his work on Botticelli ascribes the picture to Botticini; Vasari, he thinks, confused the two painters,--a theory for which there is no sort of proof. There is only one work of Botticini which has been identified with certainty. It is at Empoli, and was executed in 1490, or fifteen years at least before this picture. Vasari's account is precise, and is confirmed, as we have seen, by historical records. Very convincing internal proofs are necessary to overthrow this external evidence. Where are such proofs? The idea of the picture is entirely in accordance with what we know of Botticelli. "The wonderful energy of the angels and the boldness of the design attest his invention" (Monkhouse's In the National Gallery, p. 64). The case in this sense is very well put by Mr. Maurice Hewlett in the Academy of January 9, 1892. He points out among other things that the picture agrees with the general spirit of Botticelli's designs for the "Paradiso."

[218] Some account of the poem is given in an appendix to vol. v. of Symonds's Renaissance in Italy.

[219] The traveller will find a convenient handbook to these frescoes in Mr. J. L. Bevir's Visitor's Guide to Orvieto.

[220] It came from the Hamilton sale (1882), and was bought for the small price of £157:10s.

[221] Owing to the similarity of initials IVO the picture was ascribed by its former owner to Isaac van Ostade, who, however, died in 1649.

[222] Materials for such comparison--which is not the least interesting of the many lines of study offered by a collection of pictures--are provided in Mrs. Jameson's books, or may be formed still better by every student for himself by a collection of photographs. A capital series of articles by Mr. Grant Allen in the Pall Mall Magazine of 1895 traced, in a few of the most popular subjects, the process of "Evolution in Early Italian Art."

[223] Visitors to Venice will remember a beautiful use of this arrangement on the southern side of the Rialto, the Dove forming the keystone of the arch.

[224] A piece of paper of the last century, glued to the back of this panel, contains a memorandum in now faded ink, in the handwriting of the great-grandfather of Signor G. Molfini (from whom the picture was bought in Genoa in 1883), to the following effect:--"Antonello of Messina, a city of Sicily, a famous painter.... And this is his portrait, painted by himself, as was to be seen by an inscription below it which I, in order to reduce it (i.e. the picture) to a better shape, sawed away." Some traces of further writing are now illegible.

[225] Ford Madox Brown, who was not one to be impressed by any authority, has some very scathing remarks on this picture: "Bad in colour, in drawing, in grouping, and in expression, with the figure of Jesus falling on its nose, this work seems to shine solely by reason of the varnish with which it has recently been so polished up" (Magazine of Art, 1890, p. 135).

[226] He enumerates them in an official return of his property: "Further, I have a monkey, moreover, a raven which can talk, and which I keep by me in order that he may teach from his cage a theological jackass also to speak. Item: an owl to frighten the witches, two peacocks, two dogs, a sparrow-hawk, and other birds of prey, six fowls, eighteen chickens, two moor-fowl, and many other birds, to name all of which would only cause confusion."

[227] According to Nonius Marcellus: "By old Roman law, brides used to bring three asses (pennies), and to give one, which they held in the hand, to the bridegroom, as though to purchase him; to place another, which they held in the foot, on the hearth of the family Lares; and to put the third in their pocket and rattle it at the next cross-road."

[228] See, however, for some deductions afterwards made from this estimate, ibid. vol. iv. pt. v. ch. iii. §§ 6, 7.

[229] Elsewhere Ruskin makes some exception in favour of Ary Scheffer: "Though one of the heads of the Mud sentiment school, he does draw and feel very beautifully and deeply" (_Letters on Art and Literature_, p. 37).

[230] It was placed in their chapel in the church of S. Lorenzo in that city. There it remained till 1764, when it was bought for the Duke of Marlborough, and a copy replaced the original in the chapel.

[231] This picture and Van Dyck's "Charles the First" (1172) were bought in 1884 from the Duke of Marlborough for £87,500. Sir F. Burton, the Director of the National Gallery, had valued them at £115,500 and £31,500 severally. I remember once hearing Mr. Gladstone refer to this matter. His economic conscience seemed to give him some qualms on the score of the unprecedented price. But he took comfort in the fact that, large as was the price actually paid, the price asked by the owner, as also the valuation of the Director, was very much larger. "At any rate," he said with a smile, "I saved the taxpayers £45,000 on this Raphael, by not listening to the advice of the Director of the Gallery." The purchase had been pressed upon the Government by all sorts and conditions of men. The Royal Academy memorialised Mr. Gladstone, and pleaded especially for the Raphael--"a work produced in that happy period in which the reverent purity and the serene grace of the master's earliest work are already mellowing into the fuller dignity of his middle style." The Trustees of the National Gallery declared that the purchase would at once raise the Collection to a rank second to none, and superior to most, of the great Continental Galleries; whilst a memorial from members of Parliament of all parties, after referring to the Raphael as the finest in point of colouring that ever came from his hand, assured Mr. Gladstone that "their constituents and the whole nation will approve and applaud" a departure from "the hard line of severe economy." It appears from The Life and Correspondence of Mr. Childers (ii. 163), who was Chancellor of the Exchequer at the time, that the purchase was first suggested by Queen Victoria.

[232] Sir Edward Poynter. The luminous quality of the picture conquered Mr. Ruskin. After one of his last visits to the National Gallery, he said to me: "The new Raphael is certainly lovely--quite the loveliest Raphael in the world. The 'San Sisto' is dark and brown beside it."

[233] In this matter of the open sky also the "Ansidei Madonna" is curiously transitional. "Raphael," says Ruskin (ibid. § 10), "in his fall, betrayed the faith he had received from his father and his master, and substituted for the radiant sky of the Madonna del Cardellino, the chamber-wall of the Madonna della Sediola, and the brown wainscot of the Baldacchino." Here we have both--the Baldacchino and the open sky behind.

[234] Mr. Monkhouse suggests alternative explanations. Who is the figure on the throne? "Is he meant for some intellectual Dives, learning too late that happiness exists not in luxury or knowledge? Is he the poet, musing in sadness and mental solitude on the mysteries of life, who cannot taste of its fruit or listen to its music, unconscious of the brute forces symbolised by the panther, and the vanity of human pride imaged by the peacock on the dead branch; or is he a philosopher imparting wisdom to the young? What matter, the picture charms like nature, because we cannot fathom it" (In the National Gallery, p. 234). In the case of Giorgione's frescoes at Venice, Vasari frankly "gave it up": "I, for my part, have never been able to understand what they mean, nor, with all the inquiries that I have made, could I ever find any one who did understand, or could explain them to me." But the theory that the subject in Renaissance pictures meant nothing--that details were treated from a purely pictorial point of view--is, as Dr. Richter has well observed, more convenient than correct. The clue to many of these unknown subjects is to be found in classical or Italian literature. Bellini's allegorical compositions have recently been thus interpreted. Titian's so-called "Sacred and Profane Love" has been identified by Herr Franz Wickhoff as an illustration of the story of Medea as told in the seventh book of the Argonautica of Valerius Flaccus, and the same author has also found the key to several works ascribed to Giorgione.

[235] Dr. Richter, who found these pictures in a Veronese palace, points out that the architecture in the background represents the old tower of the castle of Mantua (Art Journal, Feb. 1895). It has, however, been urged amongst other objections that the eagle on the banners belongs to neither of the two houses. Perhaps, therefore, the subject of the pictures is purely imaginary or borrowed from some romance of the time.

[236] See note on No. 591.

[237] One portrait, however, was found by Mr. Petrie, not fixed over the face of the mummy, but framed and glazed for hanging on the wall of a tomb. The frame, now in the British Museum, is very like what is called an "Oxford frame."

[238] Two other members of the family are known as painters--Ambrosius, brother of the younger Hans; and Sigmund, brother of the elder. A portrait ascribed to the latter is in our Gallery, No. 722.

[239] The picture is painted on ten boards joined vertically; and it is interesting to speculate how far the composition may have been directed by the necessity of avoiding any joint in the faces.

[240] Cf. what Ruskin says of "the glorious severity" of Holbein's portraits (Modern Painters, vol. ii. pt. iii. sec. 1. ch. xiv. § 19).

[241] The contrast between the picture as it was before being cleaned and as it is now is very great. The accessories have come out in astonishing clearness, and the crucifix in the left-hand corner has been unveiled. The dingy green of the curtain background has given place to a rich damask, and the gown of the younger man--which Wornum described as "brownish green"--is now seen to be not green at all. Mr. Dyer, to whose art this successful restoration was due, removed the obscuring dirt and varnish entirely by manual friction.

[242] Several pages would be required to give a résumé of all the theories propounded, and of all the pros and cons in each case. An account of the principal theories was given in the fourth edition of this Handbook, and the story forms an entertaining chapter in the curiosities of criticism. The most elaborately sustained of the theories is that which identifies the "ambassadors" with the Counts Palatine Otto Henry and his brother Philip (see the monograph on the picture by W. F. Dickes).

[243] The following is the text of the document:--

Remarques sur le suject d'un tableau excellent des Srs. d'Inteville Polizy, et de George de Selve.[244]

En ce tableau est representé au naturel Messire Jean de D Intevile chevalier sieur de Polizy près de Bar-sur-seyne Bailly de Troyes, qui fut Ambassadeur en Angleterre pour le Roy François premier ez années 1532 & 1533 & de puis Gouverneur de Monsieur Charles de France second filz diceluy Roy, le quel Charles mourut a forest monstier en l'an 1545, & le dict sr. de D Intevile en l'an 1555, sepulturé en l'eglise du dict Polizy. Est aussi representé audict tableau Messire George de Selve Evesque de Lavaur personnage de grandes lettres & fort vertueux, & qui fut Ambassadeur pres de L Empereur Charles cinquiesme, le diet Evesque Filz de Messire Jean de Selve premier president au parlement de Paris, iceluy sr. Evesque decedé en l'an 1541 ayant des la susdicte année 1532 ou 1533 passé en Angleterre par permission du Roy pour visiter le susdict sieur de D Intevile son intime amy & de toute sa famile, & eux deux ayantz rencontrez en Angleterre un excellent peinctre holandois, l'employèrent pour faire iceluy tableau qui a esté soigneusement conservé au mesme lieu de Polizy iusques en l'an 1653.

[244] Evesque de Lavour (sic) contenant leurs emplois, et tems de leur deceds.

[245] The words in the choir-book are thus identified by Mr. Eastlake (see a very interesting letter to the Times, 17th August 1891).

On the left-hand page:--

Kom Heiliger Geyst herzegott erfüll mit deiner gnaden und (?) deiner gleubge hertz mut un sin dein brustig lib entzüd in ihn.

O herz durch deines lichtes glast (?) züdem glaube versamlet hast das volck aller welt zunge ...(?) dir herzu lob gesungen ... gesungen ...

On the right-hand page:--

Mensch wiltu (?) leben seliguch und bei Gott blibene Solch (?) halten die zehen gebot die uns gebeut unser Gott ... unser ...

"It seems to have been assumed," adds Mr. Eastlake, "that the choir-book is a Protestant one, and therefore inconsistent with the presence of the silver crucifix recently revealed in the left-hand upper corner of the picture. But it is evident that the hymn or anthem above mentioned is merely a paraphrase of the well-known 'Veni Sancte Spiritus,' which for ages past has appeared in the Roman Catholic breviary for use on Whit Sunday or the Feast of Pentecost, and still survives in the Anglican Ordination Service." The music in the book has been identified by Mr. W. B. Squire, of the British Museum, as the counterpoint sung by the tenor in Johann Walther's setting for the Wittenberg hymn-book of 1524. Mr. Squire adds his opinion that Holbein chose those compositions for copying in the picture, "on account of the bearing which the words had upon either the individuals portrayed, or some incident connected with them, and intended to be commemorated" (Letter to the Times, 14th November 1891). Miss Hervey finds an explanation in the fact that the Bishop of Lavaur was devoted to the cause of religious re-union between the Roman Catholic and the Reformed Churches. The doctrine expressed by the two hymns was common to all the churches.

[246] For further particulars the reader is referred to Holbein's 'Ambassadors': the Picture and the Men, by Mary F. S. Hervey (1900). Miss Hervey gives an interesting account of her identification of the sitters, and many curious speculations as to the details of the picture.

[247] It has been suggested by some high authorities that the lower portion of the picture was probably left to some pupil to finish; for the Admiral's legs are very flabbily drawn. They look as if there were no bone or muscle in them, but only sawdust or padding. Señor de Bereute, in spite of the very definite history of the picture given by Palomino, attributes the whole work not to Velazquez but to his pupil and son-in-law, J. B. del Mazo (1308). If this be correct, Mazo was another Velazquez. There is nothing in Mazo's known works to justify such an estimate of his powers. "Mazo, still in his early youth, had in 1634 married a daughter of Velazquez, and had only recently got a subordinate place in Philip's court. It is hard to believe that he could have painted this superb picture when only about 25 years of age, or that Philip would have entrusted him with the portrait of a favourite when he had beside him his trusty Court painter, Velazquez" (Quarterly Review, April 1899, p. 521).

[248] "Congratulate me (he wrote to his old friend and colleague, Sir H. A. Layard) on a real trouvaille. The picture I bought at G. Bentinck's sale has come out splendidly, and is in first-rate condition. Burton is greatly struck with it. It is a wonderful bit of luck to have picked up so fine a picture from among so many of the cognoscenti." No wonder that Sir William Gregory, who bought his pictures so cheap, was aghast at the large and even fancy price which the nation sometimes has to pay. "The cost of them," he writes of the Longford pictures (Nos. 1314-1316) "makes me blush when I think of it."

[249] The composition, however, has been blamed on the ground that the square picture on the wall interferes with the girl's head in a very awkward manner. The Cupid represented in that picture is also very clumsy. A correspondent replying to these criticisms writes: "The composition depends not upon the rhythm of the lines, but upon the arrangement of patches of colour, somewhat in the manner of the Japanese. Dutch painters often represented inferior pictures upon the walls of their interiors, perhaps as a kind of humorous contrast to their own masterpieces. See, for instance, the daub in De Hooch's picture in the National Gallery (No. 834)."

[250] By Mr. Berenson ascribed to "Amico di Sandro."

[251] "Hung on each side of the great Vandyck, on the east wall of the principal Dutch and Flemish room, they have given the completing touch to that collection of chefs d'oeuvre, and made it now beyond question the finest wall of masterpieces of those schools in Europe" (Sir Edward Poynter's speech at the Royal Academy Banquet, 1899).

[252] The purchase for the nation was at one time in jeopardy. Early in 1899 the two pictures were offered by Lord de Saumarez to the National Gallery for the sum of £12,500. A special grant was obtained from Her Majesty's Treasury for this sum on the condition that the Trustees should forego the annual grant for 1899-1900, estimated at £5000. Lord de Saumarez found, however, that he had no power to sell the pictures without an order from the Court of Chancery, and having been subsequently offered the sum of £15,000 for these two pictures, the Court decided they could only be sold to the National Gallery for an advance on the sum offered. The Trustees, therefore, offered the sum of £15,050, for which the Court awarded them to the Trustees. Towards the balance of the purchase money, amounting to £2550, two of the Trustees, Mr. Alfred de Rothschild and Mr. Heseltine, liberally contributed £500 each, and the remainder, amounting to £1550, was paid out of the grant for the year 1898-99.

[253] Mr. Roger Fry (in The Pilot, Jan. 5, 1901) attributes our picture, which he calls "a distressing production," to "some journeyman painter who treated Fra Bartolommeo's design in the spirit of the earlier furniture painters, but without their charm and naïveté."

[254] "His early pictures have only a hint of personal expression. Some of his Madonnas are still almost Byzantine in their hieratic solemnity. It is possible to follow Giovanni Bellini's career almost from year to year by the increase of personal expression in his figures and landscapes" (Mary Logan: Guide to the Italian Pictures at Hampton Court, p. 9).

[255] See Bernhard Berenson's Lorenzo Lotto, 1895, pp. 21-120.

[256] See Mr. Herbert Cook's Giorgione, pp. 68-74.

[257] That fine picture came from the Manfrini Palace at Venice; and though by some called a "bad and late copy" (Mündler, Beiträge zu B.'s Cicerone, 1870, p. 61) is by others highly praised. Thus Waagen, in his Treasures of Art in Great Britain (vol. iii. 1854, p. 19), in describing the Cobham Hall pictures, says of the picture now in the National Gallery that it "agrees essentially with the fine portrait in the Manfrini collection at Venice. But the tone of the flesh is heavier here, and the grey colour of the dress unites too much with the grey ground, while in the Manfrini picture, the brown tones of the dress stand out decidedly from it."

[258] See the Second Annual Report of the National Art Collections Fund, 1906, pp. 35, 36. Until the matter was cleared up by the researches of Señor de Beruete, summarised in that Report, it was supposed that our picture was one of five mythologies painted by Velazquez for the Gallery of Mirrors in the Alcazar of Madrid, two of which perished in the great fire of 1734. Knowledge of this fire was doubtless the origin of a suggestion that our picture also had been damaged and repainted. There was correspondence on this subject, and on others connected with the picture, in the Times of November and December 1905 and the early part of 1906.

[259] The intermediate processes by which the price of the picture rose from £30,500 to £45,000 have not been disclosed. Towards the latter sum, the largest contributions were--"An Englishman" £10,000; Lord Michelham, £8000; and Messrs. Agnew, £5250.

[260] See pp. 75-78 of The Barbizon School, by D. C. Thomson, from whose translation I borrow a few sentences.

[261] According to William Morris, most visitors to the Gallery are apt to pass by some of its principal treasures. "If ordinary people go to our National Gallery, the thing which they want to see is the Blenheim Raphael, which, though well done, is a very dull picture to any one not an artist. While, when Holbein shows them the Danish princess of the sixteenth century yet living on the canvas ...; when Van Eyck opens a window for them into Bruges of the fourteenth century; when Botticelli shows them Heaven as it lived in the hearts of men before theology was dead, these things produce no impression on them, not so much even as to stimulate their curiosity and make them ask what 'tis all about; because these things were done to be looked at, and to make the eyes tell the mind tales of the past, the present, and the future" (Mackail's Life of William Morris, ii. 273).

[262] The precise nature of the transaction was this:--Lady Carlisle received in cash £40,000 and the Treasury paid the death-duties (£2776). Of these sums, the National Gallery funds contributed £15,000; the National Art-Collections' Fund, £10,000; and the Treasury £17,776 (see House of Commons Debate, February 28, 1912).

PICTURES ON LOAN

THE HOLY FAMILY.

B. Fungai (Sienese: about 1460-1516). See 1331.

This picture, not yet numbered, is lent by the Victoria and Albert (South Kensington) Museum. It is generally characteristic of Fungai, but the figure of the Infant Christ is not pleasing.

Lent by Mr. Pierpont Morgan.

THE MADONNA DI SANTI ANTONIO.

Raphael (Urbino: 1483-1520). See 1171.

"In the same city (says Vasari)--[the city of Perugia, for which also the Ansidei Madonna was painted]--Raphael was commissioned to paint a picture of Our Lady by the nuns of Sant' Antonio of Padua; the Infant Christ is in the lap of the Virgin and is fully clothed, as it pleased those simple and pious ladies that he should be; on each side of Our Lady are figures of saints, San Pietro, namely, with San Paolo, Santa Cecilia, and Santa Catarina. To these two holy virgins the master has given the most lovely features and the most graceful attitudes; he has also adorned them with the most fanciful and varied head-dresses that could be imagined--a very unusual thing at that time. In a lunette above this picture he painted a figure of the Almighty Father, which is extremely fine, and on the predella are three scenes from the history of Christ, in very small figures.... The whole work is without doubt very admirable; it is full of devout feeling, and is held in the utmost veneration by the nuns for whom it was painted. It is very highly commended by all painters likewise."

The small scenes which formed the predella have been dispersed;[263] for the rest, the picture thus described by Vasari is before us. Vasari dates the work 1505, but it is now commonly ascribed to the years 1507-8, after Raphael had experienced the influence of Fra Bartolommeo; it would thus be a little later than the Ansidei Madonna.

The history of the picture is long and eventful. In 1677 the nuns obtained permission to sell it, "to pay their debts and because the surface was in some parts flaking away." The central panel and the lunette (forming the picture as it now is) were bought by Antonio Bigazzini, a nobleman of Perugia, for a sum of about £500. Shortly afterwards, the picture passed into the hands of the great Colonna family at Rome, and it is often called "The Colonna Raphael." The fortunes of the picture now became part of those of modern Italian history. In the last century, the picture had been bought by Francis II., King of Naples. It was a great favourite of his, and was always kept in his bedroom in the Royal Palace. When the revolution of 1860 came, and the king was driven out of Naples, the Raphael accompanied him on his wanderings, and the king succeeded in conveying it in safety to the fortress of Gaeta. When Gaeta fell in 1861, and the king went into exile, he again took the picture with him, and it was safely transported to Spain. The king was accompanied in his flight by the financier and factotum, formerly Spanish Minister at Naples, upon whom he had conferred the title of Duke of Ripalda. To him the king in some way pledged the picture, and for a time it became known as the Ripalda Raphael. Its history next becomes connected with the secular jealousies of England and France. In 1867 Sir J. C. Robinson saw the picture at Madrid, and received a hint that it might possibly be for sale. Sir William Boxall, the Director of our Gallery, went to inspect the picture, which was then in fine condition; and Disraeli authorised the trustees to buy it. Negotiations were commenced on the basis of £20,000; but the Duke of Ripalda was a friend of the Empress Eugénie, and the knowledge that England was in the market inspired a counter-bid of £40,000 from France. The outbreak of the Prussian War caused a hitch in the negotiations; and the picture, which had been sent to Paris, underwent rigorous "restoration." The Colonna Raphael, wrote Sir William Gregory (May 1870), "was, a few months ago, one of the most perfect and important pictures of that master. In an evil moment it had been submitted to the cleaner, and a piteous spectacle it now is in the eyes of gods and men. It is said that on the old frame being removed, the picture fell to the ground in three pieces. This is confirmed by the extraordinary winking appearance of the eye of one of the female saints, through which unfortunately one of the cracks runs, and which therefore had to be repainted by a modern hand." Ruskin, perhaps unaware of these repaintings or believing that they could be removed, strongly urged the acquisition of the picture for the nation (Works, xxii. 140, xxxiv. 512). But the authorities would not entertain the idea, and the picture, refused both by the Louvre and by the National Gallery, returned, unpurchased and unhonoured, into the hands of the Duke. In 1886 it was lent to the South Kensington Museum and there it remained for several years, until Mr. Martin Colnaghi bought it from the representatives of the late King of Naples. The Parisian repaintings were removed, and the picture was restored to much of its pristine beauty. Ultimately it passed into the possession of Mr. Pierpont Morgan (at the price, it is said, of £100,000), and by him it is for the present lent to the National Gallery.

THE ADORATION OF THE MAGI.

Unknown (Spanish: end of 15th century).

Signed "Lo Fil de Mestre Rodrigo." Lent by the Victoria and Albert Museum.

FOOTNOTES:

[263] In addition to the "three scenes" mentioned by Vasari there were two single figures, of St. Francis and St. Anthony of Padua respectively: these are in the Dulwich Gallery.

COPIES FROM THE OLD MASTERS

I.--VELAZQUEZ

One collection is of fifty-nine copies in oil-colour, on a reduced scale, of pictures by Velazquez in the Prado Gallery, at Madrid, presented by Lord Savile. They were painted by Mr. Chidley Molony, an English gentleman who first went to Spain as an officer in the army of General Evans, and subsequently settled at Madrid, where he was a great favourite and well known, especially to the English Colony. The following are the subjects of these copies:--

1. The Adoration of the Magi. 2. The Crucifixion. 3. The Coronation of the Virgin. 4. St. Anthony visiting St. Pablo. 5. A Group of Rustics drinking (the picture known as "Los Borrachos"). 6. The Forge of Vulcan. 7. The Surrender of Breda (the picture known as "Las Lanzas"). 8. The Tapestry Fabric of St. Isabel at Madrid (the picture known as "Las Hilanderas"). 9. Velazquez in his painting room, with various members of the Royal Family and their Attendants (the picture known as "Las Meninas"). 10. "Mercury and Argus." 11. Equestrian Portrait of King Philip III. 12. Equestrian Portrait of Queen Margarita de Austria (wife of Philip III.). 13. Equestrian Portrait of King Philip IV. 14. Equestrian Portrait of Queen Isabel de Borbon (first wife of Philip IV.). 15. Equestrian Portrait of Prince Baltasar Carlos, as a child. 16. Equestrian Portrait of the Duke of Olivares. 17. Portrait of Philip IV. as a young man, in court dress. 18. Portrait of the Infanta of Spain, Doña Maria, Queen of Hungary (sister of Philip IV.). 19. Portrait of the Infante, Don Carlos, second son of Philip III., in court dress. 20. Portrait of King Philip IV. in hunting dress. 21. Portrait of the Infante, Don Fernando de Austria (brother of Philip IV.), in hunting dress. 22. Portrait of Prince Baltasar Carlos, at the age of six, in hunting dress. 23. Portrait of King Philip IV., at the age of fifty (?), clad in half armour. 24. Portrait of Doña Mariana de Austria (second wife of Philip IV.). 25. King Philip IV. kneeling at prayer. 26. Queen Mariana de Austria, second wife of Philip IV., kneeling at prayer. 27. Portrait of Prince Baltasar Carlos, son of Philip IV., at the age of fourteen, in court dress. 28. Portrait of the Infanta, Maria Teresa de Austria, daughter of Philip IV. and afterwards Queen of France. 29. Portrait (bust length) of the Cordovan poet, Don Louis de Góngora y Argote. 30. Portrait of Doña Juana Pacheco, wife of the author (bust length; in profile). 31. Portrait of a Girl (daughter of Velazquez?). 32. Portrait of a Girl (another daughter of Velazquez?). 33. Portrait of a middle-aged Lady (half length). 34. Portrait of Don Antonio Alonso Pimentel, ninth Count of Benavente, Groom of the Bedchamber to King Philip IV. 35. Portrait of the Sculptor, Martinez Montanes (half length). 36. Portrait of Pablillos de Valladolid, a Jester of King Philip IV. 37. Portrait of Pernia, a Jester of King Philip IV. (commonly known as the Portrait of "Barbarroja"). 38. Portrait of a Jester of King Philip IV., nicknamed Don Juan de Austria. 39. Portrait of a Dwarf of King Philip IV., called "El Primo." 40. Portrait of a Dwarf of King Philip IV. (Sebastian de Morra?) 41. Portrait of Don Antonio, an English (?) Dwarf of King Philip IV. (with a mastiff). 42. The Boy of Vallecas. 43. The Idiot of Coria. 44. Æsop. 45. Menippus. 46. The God Mars. 47. Portrait of a Man (bust length). 48. Portrait of a Man (bust length). 49. Portrait of Alonso Martinez de Espinar, Groom of the Bedchamber to Prince Baltasar Carlos (bust length). 50. View in the Garden of the Villa Medici, Rome. 51. View in the Garden of the Villa Medici, Rome. 52. View of the "Calle de la Reina" in Aranjuez, with a Royal Cavalcade on the road. 53. Study of an old Man's head, in profile. 54. Study of an old Man's head (a smaller copy). 55. Portrait of Philip IV., in court dress. 56. Portrait of Prince Baltasar Carlos, as a child, in court dress. 57. A Group of Figures, presumably painted by Velazquez, in the foreground of a "View of Zaragoza", by Juan Bautista Martinez del Mazo. 58. Another group of Figures in the same picture. 59. Portrait of Doña Mariana de Austria, second wife of Philip IV., dressed in mourning (now attributed to Juan B. M. del Mazo).

II.--REMBRANDT

A second collection (also presented by Lord Savile) consists of forty copies, painted in oil-colour, on a reduced scale by Herr Paul Roemer, from pictures by Rembrandt in the Imperial Gallery of the Hermitage, St. Petersburg. The subjects are as follows:--

Enclosed in one Frame--

1. The Denial of St. Peter. 2. Portrait of Rembrandt's Mother; half length; seated, holding a book on her knees. 3. Portrait of Rembrandt's Mother; half length; seated. 4. Portrait of a young Warrior in armour. 5. Portrait of an aged Jew; half length; seated. 6. Portrait of a Man; half length; standing. 7. Portrait of a Woman; half length; seated. 8. Portrait of the Rabbi Manasseh ben Israel; seated. 9. A young female Servant, with a broom. 10. "Le Benedicite." (A Peasant family saying grace.)

Enclosed in one Frame--

11. Abraham at Table with the Angels. 12. Jacob's elder Sons showing him Joseph's garment. 13. Potiphar's Wife accusing Joseph. 14. The Parable of the Labourers in the Vineyard. 15. The Incredulity of St. Thomas. 16. Portrait of Rembrandt's Mother; half length; seated. 17. Portrait of a young Jewess, crowned with flowers. 18. Portrait of a Turk; half length. 19. Portrait of a Man. 20. Portrait of a young Man, with long fair hair. 21. Portrait of a young Man, dressed in black. 22. Portrait of an old Man.

Enclosed in one Frame--

23. The Sacrifice of Abraham. 24. The Holy Family. 25. The Return of the Prodigal Son. 26. Danaë. 27. Portrait of an old Officer. 28. A Young Girl at her Toilet. 29. Portrait of a Man. 30. Portrait of a Woman. 31. A Landscape; with figures representing the journey to Emmaus. 32. View on the Rhine. 33. The Toilet of a young Jewish Girl.

Enclosed in one Frame--

34. The Disgrace of Haman. 35. The Descent from the Cross. 36. Portrait of Lieven Willemszon van Copenol, the Calligrapher. 37. The Mother of Rembrandt; half length; seated. 38. Portrait of an aged Jew. 39. Portrait of an old Man. 40. A Nun teaching a Child to read.

III.--MURILLO, ETC.

A third collection (presented by Dr. E. J. Longton, of Southport) consists of forty-five small water-colour copies, by W. West, from pictures by old masters, principally in the Prado Gallery at Madrid. The following are the subjects:--

After Murillo--

1. The Adoration of the Shepherds. Prado, Madrid. 2. St. Elizabeth of Hungary tending the Sick. Academy of St. Fernando, Madrid. 3. The Dream of the Roman Senator and his Wife. Ibid. 4. The Roman Senator and his Wife telling their Dream to Pope Liberius. Ibid. 5. St. Thomas of Villanueva giving alms. Museum, Seville. 6. Christ on the Cross, supported by St. Francis. Ibid. 7. SS. Justa and Rufina. Ibid. 8. St. Anthony with the Infant Saviour. Museum, Seville. 9. St. Felix restoring the Infant Christ to the Virgin. Ibid. 10. La Vergen de la Servilleta. Ibid. 11. Moses striking the Rock in Horeb. La Caridad, Seville. 12. St. John the Baptist as a Child, with the Lamb. Ibid. 13. The Charity of St. Juan de Dios. Ibid.

After Zurbaran (?)

14. A Legendary Subject.

After Velazquez--

15. Los Borrachos (The Tipplers). Prado, Madrid. 16. Portrait of Philip IV. (with a Dog). Ibid. 17. Prince Balthazar as a Boy on his Pony. Ibid. 18. Portrait of the Infanta Doña Margarita. Ibid. 19. Portrait of a Male Dwarf, with a Dog. Ibid. 20. Las Meninas (The Maids of Honour); Velazquez in his Studio painting the Infanta Margarita Maria. Ibid. 21. Equestrian Portrait of Philip IV. Ibid. 22. Portrait of the Earl of Nottingham. Ibid.

After Titian--

23. Portrait of Philip II. as a Young Man. Ibid. 24. Equestrian Portrait of Charles. Ibid. 25. The Bacchanal. Ibid. 26. Portrait of Charles V., with a Dog. Ibid. 27. Portrait of an Officer.

After Rubens--

28. The Three Graces. Ibid. 29. The Garden of Love. Ibid.

After Van Dyck--

30. The Betrayal of Christ. Ibid. 31. Portrait of Henry, Count de Berg. Ibid. 32. Portrait of a Cavalier. Ibid.

After Ribera--

33. Jacob receiving Isaac's Blessing. Ibid. 34. Jacob's Dream. Ibid.

After Jordaens--

35. Family Group in a Garden. Ibid.

After Raphael--

36. The Holy Family (La Perla). Prado, Madrid. 37. The Holy Family (La Rosa). Ibid. 38. The Holy Family (Del Lagarto). Ibid. 39. Christ bearing the Cross (Lo Spasimo). Ibid.

After Correggio--

40. Noli me tangere. Ibid.

After Claude--

41. Landscape, with St. Mary Magdalen kneeling. Ibid.

After Giorgione--

42. The Virgin and Child, with St. Bridget. Ibid.

After Rembrandt--

43. Queen Artemisia. Ibid.

After Sir A. More--

44. Queen Mary of England. Ibid.

After Parmigiano--

45. Portrait of a Lady with three Children (probably Riccarda Malaspina, Wife of Lorenzo Cibo). Ibid.

IV.--THE ARUNDEL SOCIETY'S COLLECTION

The Arundel Society was formed in 1849 in order to meet "a revived interest in art by suitable instruction." In the case of early Italian art, "the materials for such instruction were abundant, but scattered, little accessible, and, in some instances, passing away." The Society set itself to secure engravings and other records of works of art which came within the description just given. A large collection of water-copies from the Old Masters was thus accumulated, and the Collection was in 1897 deposited in the National Gallery on loan. Two years later, the Society was wound up, and the collection was given to the nation. It is of great interest and value to all students of mediæval art. Many of the Arundel copies are familiar from reproductions in chromo-lithography. "The latter," as a well-known critic has remarked, "although they undoubtedly did good service in their time by calling attention to the less known and less easily available masterpieces of the earlier Italian art, were often enough lamentable caricatures of the things which they professed to represent. The drawings themselves are, however, in many cases, of an exquisite accuracy, of which the reproductions give little or no idea. Of course, when the attempt is made to copy in this medium the great achievements of Giovanni Bellini, Giorgione, Titian, Palma Vecchio, Paolo Veronese,--or even of such earlier colourists as the Van Eycks and Memlinc,--failure, more or less complete, must inevitably be the result. It would be difficult, on the other hand, to overestimate the value of such copies as those of the famous frescoes of Mantegna in the Church of the Eremitani at Padua, those of Benozzo Gozzoli at San Gimignano and Montefalco, of Piero della Francesca at Arezzo, or of the great galaxy of Quattrocento painters--Perugino, Pinturicchio, Botticelli, Ghirlandajo, Signorelli, Cosimo Rosselli, and Piero di Cosimo--who worked in the Sixtine Chapel before Michelangelo came to dwarf and efface them with his stupendous ceiling, and, thirty years later on, with his 'Last Judgment.' For the purposes of study and comparison these copies, lent by the Arundel Society, fulfil much the same role as does a good museum of casts from antique masterpieces. They do not enable the student of art to form a complete idea of the originals, any more than the copies of the Pheidian and Praxitelean sculptures do; but they enlarge his view of the scope and significance of Italian and Netherlandish art in their greatest phases, and happily they fill up gaps which must occur even in the most various and representative collection, such as is the National Gallery."[264]

It is hoped that the following catalogue may serve to bring before the notice of visitors the importance of a collection which deserves much greater attention than it has hitherto received. The artists represented are arranged alphabetically, with references to such of them as are also represented by original work in the National Gallery. After the title of each work, information is given as to the nature of the original from which the copy is made, and the place where the original is. The numerals after each picture refer to the numbers at present on the frames.

ALBERTINELLI (see under 645).

The Visitation (11): picture, Uffizi, Florence.

ANDREA DEL CASTAGNO (see under 1138).

The Last Supper (120): fresco, Convent S. Apollonia, Florence.

ANGELICO, FRA (see under 663).

Christ and Magdalen (51): fresco, Convent of S. Marco, Florence. Christ at Emmaus (76): " " " " The Transfiguration (49): " " " " The Crucifixion (91): " " " " The Entombment (50): " " " " The Marys at the Sepulchre (53): " " " Madonna and Child, etc. (65): " " " The Presentation (54): " " " " The Annunciation: " " " " Coronation of the Virgin: " " " " Christ as a Pilgrim (70): " " " " Ordination of St. Stephen (55): fresco, Vatican, Rome. Adoration of the Magi (166): " " " Lives of SS. Stephen and Lawrence (128, 131, 134, 193, 194, etc.): frescoes, Chapel of St. Lawrence, Vatican.

["The remote little chapel containing Fra Angelico's masterpieces." Without seeing it, no one can have any conception of "the strength and freedom of the artist." "These frescoes are the highest expression of that which the friar for many years had been striving after. They are an anthology of his artistic virtues" (Fra Angelico, by Langton Douglas: see pp. 141-158 for a full discussion of them).]

AVANZO, JACOPO D' (Veronese: painted 1377).

St. Lucy and her Judges (36): fresco, S. Antonio, Padua. Martyrdom of St. George (183): fresco, S. Giorgio, Padua.

BARTOLOMMEO, FRA (see under 1694).

Christ at Emmaus (72): fresco, S. Marco, Florence. Vision of St. Dominic (45): " " " Virgin and Child (24): " " " "Noli me tangere": " " "

BELLINI, GIOVANNI (see under 189).

Virgin and Child (62): picture, Frari, Venice.

["The art of Bellini is centrally represented by two pictures at Venice: one the Madonna in the sacristy of the Frari with two saints beside her, and ten angels at her feet; the second, the "Madonna with four Saints" over the second altar of San Zaccaria. In the first of these the figures are under life size, and it represents the most perfect kind of picture for rooms; in which, since it is intended to be seen close to the spectator, every right kind of finish possible to the hand may be wisely lavished; yet which is not a miniature, nor in any wise petty or ignoble, etc." (Ruskin: Relation between Michael Angelo and Tintoret, p. 14).]

BOCCACCIO BOCCACCINO (see under 806).

Christ among the Doctors (57): fresco, Cathedral, Cremona.

BOTTICELLI (see under 1034).

Spring (86): picture, Belle Arti, Florence.

[The most probable explanation of the allegory is this:--The picture represents a masque or joust of Spring given by Giuliano de' Medici in honour of his mistress, "La Simonetta Vespucei," who is here represented as Spring, Giuliano himself figuring as Mercury. In the centre is Venus with Cupid above her head, pointing an arrow at Giuliano. Shortly after the joust, Giuliano was murdered, and La Simonetta died. The death-like figure to the extreme left, breathing upon Spring, represents the premonition of these coming disasters. Simonetta was a favourite model of Botticelli's, the same slender and long-throated lady appearing in many of his works, though sometimes spiritualised almost past recognition (cf. Ariadne Florentina, Appendix iv.; and a sonnet by D. G. Rossetti describing this picture).]

Destruction of Korah, Dathan, and Abiram (180): fresco, Sistine Chapel. Moses at the Well (185): fresco, Sistine Chapel. The Temptation (110): " " " Venus rising from the Sea (87): picture, Uffizi, Florence.

[For an interesting description and interpretation of this picture, see Pater's Studies in the History of the Renaissance: "The light is cold--mere Sunless dawn; but a later painter would have cloyed you with sunshine; and you can see the better for that quietness in the morning air each long promontory as it slopes down to the water's edge. Men go forth to their labours until the evening; but she is awake before them, and you might think that the sorrow in her face was at the thought of the whole long day of love yet to come. An emblematical figure of the wind blows hard across the grey water, moving forward the dainty-tipped shell on which she sails, the sea 'showing his teeth' as it moves in their lines of foam, and sucking in one by one the falling roses.... What is unmistakable is the sadness with which Botticelli has conceived the Goddess of Pleasure as the depositary of a great power over the lives of men."]

Giovanna Tornabuoni and the Graces. Lorenzo Tornabuoni and the Liberal Arts.

[Copies from the frescoes formerly in the Villa Lemmi, near Florence, now in the Louvre: for a description of them, see Ruskin's Art of England, § 69.]

BUFFALMACCO (Florentine: 1262-1351).

Raising of Lazarus (216): fresco, Assisi.

CARPACCIO (see under 750).

St. George baptizing the Princess (79): picture, S. Giorgio degli Schiavoni, Venice. St. Jerome in his study (89): " " " The Calling of St. Matthew (77): " " " St. George and the Dragon (190): " " "

[See for full descriptions of these pictures Ruskin's "St. Mark's Rest," Shrine of the Slaves.]

St. Vitale and Saints (259); picture, Church S. Vitale, Venice.

[Signed, and dated 1514. An admirable example of the master.]

CIMABUE (see under 565).

Frescoes in the upper church of Assisi (137-155).

["In these works there is an evident struggle in the mind of the artist to give to traditional form the expression of a living intention; but all that belongs to a closer imitation of nature in her individual peculiarities--all that belongs to the conception of characteristic or graceful action,--is still wanting. The form of the countenance is alike throughout; the expression, as conveyed by mien, always constrained. Yet, notwithstanding all these defects, these works must be regarded as having been mainly instrumental in opening a new path to the free exercise of art."--Kugler.]

DOMENICO DI BARTOLO (SIENESE: died 1449).

Copies from two of the frescoes in the Hospital of S. Maria della Scala, at Siena (Nos. 1 and 6 of the series, "The Rearing, Education, and Marriage of Foundlings," and "Pope Celestine's approval of the building of the Hospital").

DÜRER, ALBERT (see under 1938).

St. John and St. Peter (99): picture, Pinakothek, Munich. St. Mark and St. Paul (103): " " " Adoration of the Trinity (101): picture, Belvedere, Vienna.

EYCK, VAN, The Brothers (see under 186).

Adoration of the Lamb (107): altar-piece, Cathedral, Ghent.

[This famous picture has been put together, in the copy, from the originals, which are now distributed among Ghent (three central panels), Brussels (the Adam and Eve), and Berlin (the remaining panels).]

FOLIGNO, NICCOLO DA (see under 1107).

Virgin and Child (40): altar-piece, Gualdo Tadino, Umbria.

FORLI, MELOZZO DA (see under 755).

Pope Sixtus VI. (38): fresco, Vatican Gallery, Rome. Angels (68, 76, 206, 217): fresco, sacristy, St. Peter's, Rome.

FRANCESCA, PIERO DELLA (see under 665).

The Resurrection (32): fresco, Palazzo Communale, Borgo San Sepolcro.

Battle for the Recovery of the True Cross (178): fresco, S. Francesco, Arezzo.

St. Helena finding the True Cross: fresco, S. Francesco, Arezzo.

Dream of Constantine (161): fresco, S. Francesco, Arezzo.

["The movement and life in the compositions, the variety in the expressions of the numerous figures, their energy of action, and the grand treatment of the draperies, are all equally remarkable."--Kugler.]

FRANCIA (see under 180).

Marriage of St. Cecilia: fresco, St. Cecilia, Bologna. Burial of St. Cecilia: " " "

GADDI, AGNOLO (Florentine: died 1396).

Nativity of the Virgin (207): fresco, cathedral of Prato. Betrothal (179): " " "

GADDI, TADDEO (see under 215).

Adoration of the Magi (113): fresco, lower church, Assisi.

GHIRLANDAJO (see under 1230).

Calling of the Apostles (115): fresco, Sistine Chapel, Rome. The Last Supper (88): fresco, Ognissanti, Florence. St. John the Baptist (90): fresco, S. Maria Novella, Florence. Zacharias Naming his Son (92): " " " Birth of the Baptist (111): " " " Angel appearing to Zacharias (132): " " " Baptism of Christ (159): " " " Expulsion of Joachim (171): " " " Birth of the Virgin (172): " " " Marriage of the Virgin (175): " " " The Salutation (195): " " " Massacre of the Innocents (196): " " " Presentation in the Temple (226): " " "

[For a criticism of Ghirlandajo's frescoes in this church, see Ruskin's Mornings in Florence, pp. 25, 26.]

The Emperor Augustus and the Sibyl (84): fresco, S. Trinita, Florence. Death of St. Francis of Assisi: fresco, S. Trinita, Florence. Death of S. Fina (47): fresco, Cappella S. Fina, S. Gimignano. Burial of S. Fina (158): " " "

GIORGIONE (see under 269).

Virgin and Child (9): altar-piece Castelfranco.

[This according to Ruskin, is one of the "two most perfect pictures in existence; alone in the world, as an imaginative representation of Christianity, with a monk and a soldier on either side, the soldier bearing the white cross of everlasting peace on the purple ground of former darkness."--Oxford Lecture, reported in Cook's Studies in Ruskin, p. 251. For a further description of the picture, see Stones of Venice, Travellers' edition, ii. pp. 177-179.]

GIOTTO (see under 568).

The Life of St. Francis (2, 95, 199-205, 215-220): frescoes, upper church of S. Francesco, Assisi.

The Virtues: frescoes, lower church of S. Francesco, Assisi.

[Here, in "the cradle of Florentine art," the young Giotto worked out his apprenticeship as a painter. For Ruskin's estimate of Giotto's work at Assisi, see Fors Clavigera for 1877.]

Vices and Virtues (82 A, etc.): frescoes, Arena Chapel, Padua. Pietà: " " "

GOZZOLI (see under 283).

Scenes from the Life of St. Francis (208, 222, 242, 267): frescoes, church S. Francesco, Montefalco.

Virgin and Child (97): altar-piece, church of S. Francesco, Montefalco.

Scenes from the Life of St. Agostino (46, 224, 243, 244): frescoes, church S. Agostino, S. Gimignano.

The Journey of the Three Kings to Bethlehem (37, 39, 41, 123, 248): frescoes, Riccardi Palace, Florence.

["The chapel in the Palazzo Medici, now Riccardi, is made the scene of the journey, represented in a sumptuous procession of knights, squires, and pages, with dogs and hunting leopards. He has also introduced portraits of various members of the Medici family and of some of the principal citizens of Florence."--Kugler's Italian Schools, i. 164.]

Marriage of Isaac and Rebecca: fresco, Campo Santo, Pisa.

GUIDO DA SIENA.

Virgin and Child (241): picture, S. Domenico, Siena.

[Stated on an inscription to have been painted in 1221. Relying on the date, the Sienese have disputed the claims of the Florentines to have been the regenerators of Italian art. But it has been proved that the numerals have been tampered with, the true date being 1281.]

HOLBEIN (see under 1314).

The Meier Madonna (102): picture, Palace Princess Charles, Darmstadt.

[This is from the original, of which there is a celebrated copy at Dresden. "The received tradition respecting the Holbein Madonna is beautiful, and I believe the interpretation to be true. A father and a mother have prayed to her for the life of their sick child. She appears to them, her own Christ in her arms. She puts down her Christ beside them--takes their child into her arms instead. It lies down upon her bosom, and stretches its hand to its father and mother, saying farewell."--Ruskin's On the Old Road, i. pp. 234, 235.]

LIBRI, GIROLAMO DAI (see under 748).

Virgin and Child (44): picture, S. Giorgio, Verona.

LEONARDO DA VINCI (see under 1093).

Virgin and Child: fresco, St. Onofrio, Rome.

LIPPI, FRA FILIPPO (see under 666).

Virgin and Child (34): picture, Uffizi, Florence. Virgin and Child (100): picture, Belle Arti, Florence.

[This is one of the four pictures selected by Mr. Ruskin for his series of "Lesson Photographs."--See Fors Clavigera, 1875, pp. 307-310; 1876, p. 187.]

Burial of St. Stephen (238): fresco, cathedral of Prato. Heads from frescoes (157, 170): " " "

LIPPI, FILIPPINO (see under 293).

Virgin and Child (66): fresco, cathedral, Prato.

Vision of S. Bernard (1): altar-piece, Badia, Florence.

Glorification of St. Thomas Aquinas, two heads from: fresco (157); Cappella, Carafa, S. Maria sopra Minerva, Rome.

[For a description of this remarkable fresco, "barbarously restored and repainted in 1874," see Kugler's Italian Schools of Painting, i. 160.]

St. Peter delivered from prison: fresco, Brancacci chapel, Carmine, Florence.

St. Peter and St. Paul before Nero, and Martyrdom of St. Peter: fresco, Brancacci chapel, Carmine, Florence.

St. Peter visited by St. Paul: fresco, Brancacci chapel, Carmine, Florence.

[See also Masaccio and Masolino; the Arundel Society's ascriptions are here followed, but the ascription of these frescoes to one or other of the three artists, Filippino Lippi, Masaccio, and Masolino is doubtful.]

LORENZETTI, PIETRO (see under 1113).

The Deposition (29): fresco, lower church, Assisi. Good Government: frescoes, Palazzo Pubblico, Siena.

LORENZO, FIORENZO DI (see under 1103).

Events in the Life of St. Bernardino (30, 229, 230): pictures, Pinacoteca, Perugia.

LUINI (see under 18).

Ippolita Sforza in prayer, with attendant saints (74): fresco, S. Maurizio, Milan. Donor and Saints (266): fresco, S. Maurizio, Milan. St. Catherine (268): fresco, Santuario della Madonna, Saronno. St. Apollonia (260): " " " Head of an Attendant (125): " " " Head of the Virgin (117): " " " Marriage of the Virgin: " " " Adoration of the Magi: " " " Christ among the Doctors: " " " Presentation: " " "

Madonna and Child (160): fresco, S. Maria degli Angioli, Lugano.

[In a side chapel to the right of the entrance. "One of the loveliest little pictures in Italy. It is dated 1530, and is probably the last work which the golden hand of Luini bequeathed to the world."--Lund's Como and Italian Lake-land, p. 432.]

MANTEGNA (see under 274).

The Histories of SS. James and Christopher (38, 42, 227, 230, 236, 239); frescoes, Eremitani Chapel, Padua.

[The most important works of Mantegna's youth. "His early frescoes in the Eremitani look as though they had been painted from statues or clay models, carefully selected for the grandeur of their forms, the nobility of their attitudes, and the complicated beauty of their drapery."--Symonds: Renaissance, iii. 197.]

MASACCIO (Florentine: 1401-1428).

St. Peter and St. John giving alms: fresco, Brancacci Chapel, Carmine, Florence.

St. Peter and St. John healing the sick: fresco, Brancacci Chapel, Carmine, Florence.

St. Peter preaching: fresco, Brancacci Chapel, Carmine, Florence.

The Expulsion from Paradise: " " "

The Tribute Money: " " "

St. Peter and St. Paul raising the King's son: fresco, Brancacci Chapel, Carmine, Florence.

Homage of St. Peter: fresco, Brancacci Chapel, Carmine, Florence.

[For Masaccio, as the first "naturalist" in landscape, see Ruskin's notices of the frescoes in Modern Painters, vols. i. and iii.]

MASOLINO (Florentine: 1383-1447).

The History of the Baptist (119, 127, 169, 211): frescoes, Castiglione d' Olona (near Varese).

The Prophet Isaiah (167): fresco, Castiglione d' Olona (near Varese).

The Temptation: fresco, Castiglione d' Olona (near Varese).

St. Peter and St. John raising Petronilla: fresco, Brancacci Chapel, Carmine, Florence.

[Tommaso di Cristoforo Fini, known as Masolino da Panicale, from the place of his birth, is supposed to have been the teacher of Masaccio. He was for some time in the service of Cardinal Branda Castiglione. These frescoes, on one of which he inscribed his name, were executed 1426-1437. They "indicate a careful study of nature, though the type of composition is still that of the 14th century."]

MEISTER WILHELM (see under 687).

Virgin and Child (104): picture, collection Archbp. of Cologne.

MEMLINC (see under 686).

Panels from Triptych (105): Hospital St. John, Bruges. Crucifixion (106): triptych, Lübeck Cathedral.

MEMMI, SIMONE (Sienese: born 1283).

Annunciation (78): picture, Louvre, Paris.

Death-bed of St. Martin (277): fresco, church S. Francesco, Assisi.

Investiture of St. Martin: fresco, church S. Francesco, Assisi.

St. Martin renouncing the Emperor's service (124): fresco, church S. Francesco, Assisi.

[The real name of this Sienese painter was Simone Martini. He is celebrated by Petrarch: "I have known two painters," he writes, "talented both and excellent, Giotto of Florence and Simone of Siena."]

MICHAEL ANGELO (see under 790).

Delphic Sibyl (20): fresco, Sistine Chapel, Rome. Persic Sibyl (262): " " " Ezekiel (17): " " " Jeremiah (16): " " "

[For Ruskin's criticism of these frescoes, see (among other places) Ariadne Florentina, ch. iv.]

MONTAGNA (see under 802).

St. John Baptist and St. Benedict (6): picture, SS. Nazzaro e Celso, Verona. SS. Nazzaro e Celso (8): picture, SS. Nazzaro e Celso, Verona. St. Blaise led to execution: " " "

MORANDO (see under 735).

The Deposition (80): picture, Municipal Museum, Verona.

PACCHIAROTTO (see under 1849).

St. Catherine and St. Agnes (10): fresco, oratory of S. Catherine, Siena.

PALMA VECCHIO (see under 636).

Virgin and Child (212): picture, church S. Stefano, Vicenza.

[S. Lucia stands on the left; on the right, St. George in armour with his banner--a grand figure recalling the S. Liberale in Giorgione's picture at Castelfranco. One of Palma's finest works.]

PERUGINO (see under 288).

Christ's charge to Peter (56): fresco, Sistine Chapel, Rome. Baptism of Christ (181): " " " Moses and the Angel (197): " " "

[Attributed by Morelli to Pinturicchio: see German Galleries, p. 264.]

Adoration of the Magi (96): fresco, S. Maria de' Bianchi, Città della Pieve.

Crucifixion (5): fresco, S. Maria Maddalena de Pazzi, Florence.

Marriage of the Virgin (73): fresco, Convent of S. Girolamo, Spello.

Martyrdom of St. Sebastian (28): fresco, chapel of convent at Panicale.

Nativity and Adoration (7): fresco S. Francesco del Monte, Perugia.

The Transfiguration (4): fresco, Sala del Cambio, Perugia.

PERUZZI (see under 218).

Augustus and the Sibyl (250): fresco, church of Fonte Giusta, Siena.

[Peruzzi imparted to this picture, says Lanzi, "such a divine enthusiasm that Raffaelle himself never surpassed him in his treatment of this subject."]

PINTURICCHIO (see under 693).

Glorification of St. Bernardino (186): fresco, church of Aracoeli, Rome.

Burial of St. Bernardino (130): fresco, church of Aracoeli, Rome.

["Somewhat slight and hard in execution, but full of expression and individual life."--Kugler.]

Betrothal of Frederick III. (75): fresco, Piccolomini Library, Siena.

Piccolomini receiving a Cardinal's hat (71): fresco, Piccolomini Library, Siena.

A drawing of the interior of the Piccolomini Library, showing Pinturicchio's frescoes (43).

The Nativity (82): fresco, S. Maria del Popolo, Rome.

St. Catherine of Alexandria (59): fresco, Appartamenti Borgia, Vatican.

Virgin in Glory (3): altar-piece at Monte Oliveto.

Annunciation: fresco, Cathedral, Spello.

Nativity: " ""

Christ among the doctors: ""

PORDENONE (see 272).

Adoration of the Magi (176): fresco, castle of Coll' Alto, near Conegliano.

Flight into Egypt (225): fresco, castle of Coll' Alto, near Conegliano.

RAPHAEL (see under 1171).

Philosophy (22): fresco, in one of the Stanze, Vatican. Poetry (25): " " " Poets on Mt. Parnassus (21): " " St. Peter delivered from Prison (19): " Theology (23): " " " Justice (26): " " " Expulsion of Heliodorus (213): " " Mass of Bolsena (121): " "

[These frescoes, in one of the chambers of the Vatican, are those by which, according to Ruskin, Raphael "wrote upon its walls the Mene, Tekel, Upharsin of the Arts of Christianity." See Edinburgh Lectures on Architecture and Painting, pp. 213, 214.]

The Four Sibyls (63): fresco, S. Maria della Pace, Rome.

ROMAN WALL PAINTING.

The Nursing of Bacchus (13): Farnesina Gardens, Rome.

ROMANINO (see under 297).

Visit of Christian II., King of Denmark, in 1475 to Bartolomeo Colleoni (58, 182, 188, 228, 234, 240): frescoes, Castle of Malpaga, near Bergamo.

["There is perhaps no edifice of the kind which gives so complete an idea of the residence of a great Italian nobleman in the middle ages." The frescoes are fully described in Mr. Oscar Browning's Life of Bartolomeo Colleoni, published by the Arundel Society in 1891. "These pictures are extremely interesting as showing the manners and customs of the time; and we cannot but feel that an age which could have crowded into so short a space so many scenes replete with life and colour, with dignity and magnificence, must be worthy of our study. Romanino, the reputed author of the frescoes, was born ten years after the events which they portray. He must, therefore, have worked from the family records of what occurred, although in his own age the life of chivalry was not altogether dead. It is more probable, however, that they were executed by one of his pupils."]

ROSSELLI, COSIMO (Florentine: 1439-1507).

Worship of the Golden Calf (135): fresco, Sistine Chapel, Rome. The Last Supper (184): " " " Passage of the Red Sea (192): " " " Sermon on the Mount (198): " " "

[The latter is the most successful. The landscape and perhaps other parts are by his pupil, Piero di Cosimo. To Rosselli was formerly attributed No. 227 in our Gallery.]

SANTI, GIOVANNI (see under 751).

Nativity and Resurrection (4): fresco, St. Domenico, Cagli.

SARTO, ANDREA DEL (see under 690).

The Last Supper (122): fresco, S. Salvi, Florence.

[A celebrated work in a convent, now a lunatic asylum, near Florence: commissioned in 1519, finished in 1527. Described and highly praised by Vasari (iii. 224), who says that the beauty of the fresco saved the convent from destruction during the siege of Florence in 1529-30.]

Charity (94): fresco, cloisters of Campagnia dello Scalzo, Florence.

[This fresco is the subject of an interesting dissertation by Max Müller, published by the Fine Art Society, 1887.]

St. John Baptist preaching (93): fresco, cloisters of Campagnia dello Scalzo, Florence.

Birth of the Virgin (51): fresco, Annunziata, Florence.

Procession of the Magi (33): fresco, Annunziata, Florence. St. Filippo Benizzi (52): " " " Madonna del Saco: " " "

SIGNORELLI (see under 1128).

Scenes from Life of Moses (60): fresco, Sistine Chapel, Rome.

St. Benedict receiving the true King Totila (144): fresco, Monte Oliveto.

St. Benedict receiving the false King Totila (257): fresco, Monte Oliveto.

[For a description of these frescoes at Monte Oliveto, see Maud Cruttwell's Luca Signorelli, p. 58.]

The Crowning of the Elect (165): fresco, cathedral, Orvieto. Portraits of Dante and Virgil (from the same): " "

[For a description of these see Bevir's _Visitor's Guide to Orvieto_, p. 43, etc.]

SODOMA (see under 1144).

Presentation of SS. Placidas and Maurus to St. Benedict (233): fresco, Monte Oliveto. St. Benedict Preaching (98): fresco, Monte Oliveto. Christ (12): fresco, convent of S. Anna, near Siena. Christ bound to the Column (61): picture, Academy, Siena. Swoon of St. Catherine (69): fresco, S. Domenico, Siena. Vision of St. Catherine (64): " " " Presentation of the Virgin (263): fresco, S. Bernardino, Siena.

TIEPOLO (see under 1192).

Anthony and Cleopatra (162, 168): frescoes, Palazzo Labia, Venice.

[The best of Tiepolo's works. "His frescoes in the Palazzo Labia, representing the embarkation of Anthony and Cleopatra on the Cydnus, and their famous banquet at Canopus, are worthy to be classed with the finest decorative work of Paolo Veronese."--J. A. Symonds: Century Guild Hobby Horse, April 1889.]

TIMOTEO DELLA VITE (Ferrarese: 1469-1523).

The Magdalen (265): picture, Pinacoteca, Bologna.

[By the first master of Raphael. The picture is mentioned by Vasari (iii. 114): "She is standing upright, her vestment is a short mantle, but the figure is covered principally with the long hair, which falls to her feet; and this is so beautiful and natural that, while observing it, one cannot but fancy that the light silky tresses are stirred by the wind. The countenance, also, has the most divine beauty of expression, and clearly exhibits the love which this Saint bore to her Lord."]

TITIAN (see under 4).

Miracles of St. Anthony of Padua (14, 133): frescoes, Scuola del Santo, Padua.

TURA, COSIMO (see under 772).

Triumph of Venus (112): fresco, Schifanoia Palace, Ferrara. Triumph of Minerva (129): " " "

UNKNOWN PAINTER.

Richard II. before the Madonna (27): picture, Wilton House.

VASCO, FERNANDEZ ("Gran Vasco") (Portuguese: born 1552).

St. Peter enthroned as Pope (48): picture, sacristy of the cathedral, Vizen, Portugal.

VERONESE, PAOLO (see under 26).

Allegorical Subjects, "Justice," "Temperance," etc. (15, 18, 155, 156): frescoes, Villa Giacomelli, Masèr.

[This villa, built by Palladio for Daniele Barbara in 1580, is reached from Cornuda, a station on the line between Treviso and Belluno. It contains some of Veronese's most beautiful wall-paintings.]

VITERBO, LORENZO DI (painted 1648).

Betrothal of the Virgin (67): fresco, S. Maria della Verita, Viterbo. Presentation: fresco, S. Maria della Verita, Viterbo.

* * * * *

There is also a copy, presented by Mrs. Bywater, of Domenico Veneziano's "Madonna and Child" (No. 1215).

SCULPTURES AND MARBLES

Many of the sculptures belonging to the National Gallery have been removed to the Hall of Sculpture at the Tate Gallery or to the National Portrait Gallery. Among those that remain in Trafalgar Square are:--

"THE DYING ALEXANDER" (in the Vestibule).--A Renaissance copy in Egyptian porphyry of the bust, in the Uffizi at Florence, known as "The Dying Alexander." The bust is now generally recognised as the work of a Pergamene sculptor, and is supposed to represent a youthful giant. The influence of the "Alexander type" is in any case noticeable in this fine work; a type embodying "the traces of human passion, the imperfection of human longing, the divine despair, which attach to the highest mortal natures because they are high and because they are mortal."--Presented by Mr. Henry Yates Thompson.

BUST OF MANTEGNA.--A plaster cast from the bust of Mantegna in the Mantegna Chapel at Mantua: see the description quoted under 274.--Presented by Mr. Henry Vaughan.

FOOTNOTES:

[264] Among works of illustration produced of late years, "the publications of the Arundel Society," says Ruskin, "hold the first rank in purpose and principle, having been from the beginning conducted by a council of gentlemen in the purest endeavour for public utility, and absolutely without taint of self-interest, or encumbrance of operation by personal or national jealousy. Failing often, as could not but be the case when their task was one of supreme difficulty, and before unattempted, they have yet on the whole been successful in producing the most instructive and historically valuable series of engravings that have ever been put within reach of the public.... I learned more from the Arundel copy than in the chapel itself; for the daily companionship with the engraving taught me subtleties in the composition which had escaped me in the multitudinous interest of visits to the actual fresco" (Stones of Venice, Travellers' edition, ii, 176; and Ariadne Florentina, Appendix, p. 246).

APPENDIX I

INDEX LIST OF PAINTERS

WITH THE SUBJECTS OF THEIR PICTURES.

In the following list all the painters (of Foreign Schools) represented in the National Gallery are enumerated. Painters only represented by pictures belonging to, but now removed from, the Gallery are not included. The painters are given in alphabetical order, and are cited by the names by which they are most commonly known. But where such names differ from the proper patronymics, the latter are also given, with references to the former. Similar double references are given in other cases where doubt is likely to arise.

In the case of names with the prefix "de" or "van," the painter should be looked for under the initial letter of his surname: e.g. "Van Dyck" under "Dyck," "Van de Cappelle" under "Cappelle."

Pictures by unknown artists will be found under the schools to which they severally belong: "Dutch," "Florentine," etc.

In the case of painters represented by several pictures, the first reference after each name is to the page in the Handbook where some general account of the painter will be found. The references after each picture are to the official number on its frame, under which number the description of the picture will be found in the preceding catalogue.

Agii, A. Cordelle Marriage of St. Catherine, 1409

Agnolo, Andrea d'. See Sarto

Albertinelli Virgin and Child, 645

Aldegrever, H. Young Man (portrait), 1232

Allegri. See Correggio

Allori, Alessandro, p. xix Portrait of a Lady, 650

Allori, Cristofano A Lady (portrait), 21

Alunno. See Niccolo da Foligno

Amberger, Christoph Portrait of a Young Man, 2604

Ambrogio. See Predis

Amerighi. See Caravaggio

Angelico, Fra, p. 329 Adoration of the Magi, 582 The Resurrection, 663

Angelico, School of The Annunciation, 1406

Angelo di Taddeo Gaddi, p. xix Coronation of Virgin, 568

Antonello da Messina, p. 343 Crucifixion, 1166 His own Portrait, 1141 St. Jerome, 1418 Salvator Mundi, 673

Aretino. See Spinello

Assisi, Andrea d'. See Ingegno

Avercamp, H. van, p. 633 Winter Scenes, 1346, 1479

Bacchiacca, Il History of Joseph, 1218, 1219

Bakhuizen, L., p. 204 Coast Scene, 818 Estuary, 1000 Gale, 223 Mouth of Thames, 819 Ships in a Gale, 1442

Baldung, Hans, p. 224 A Pietà, 1427 A Senator (portrait), 245

Barbarelli. See Giorgione

Barbieri. See Guercino

Barnaba da Modena Descent of Holy Ghost, 1437

Baroccio, F. Madonna del Gatto, 29

Bartolommeo, Fra Virgin and Child, 1694

Basaiti, Marco, p. 244 Madonna of the Meadow, 599 St. Jerome reading, 281 Virgin and Child, 2499 Young Venetian (portrait), 2498

Bassano, Il, p. 182 A Gentleman (portrait), 173 Christ and the Money Changers, 228 The Good Samaritan, 277

Bastiani, Lazzaro, p. 388 Virgin and Child, 1953 See also 750 (p. xx)

Bazzi. See Sodoma

Beccafumi, Domenico Esther and Ahasuerus, 1430

Beerestraaten, J. Winter Scene, 1311

Bega, C. P. A Philosopher, 1481

Bellini, Gentile, p. 584 G. Malatini (portrait), 1213 St. Dominic, 1440 St. Peter Martyr, 808

Bellini, Giovanni, p. 190 Agony in the Garden, 726 Blood of the Redeemer, 1233 Circumcision, 1455 Doge Loredano, 189 Madonna (Pomegranate), 280 Madonna and Child (fresco), 1696 St. Peter Martyr (landscape), 812. See also 599, 808, 1440 (pp. xix & xx)

---- School of The Doge Mocenigo, 750

Beltraffio, G. A., p. 375 Madonna and Child, 728 ---- (Columbine), 2496 Narcissus, 2673

---- School of Madonna and Child, 2089

Benozzo. See Gozzoli

Benson, Ambrosius, p. xix Reading Magdalen, 655

Benvenuti, Giov. Batt. See Ortolano

Benvenuto da Siena, p. 462 Madonna and Child, 2482 ---- (with St. Peter and St. Nicholas), 909

Berchem, N., p. 150 Crossing the Ford, 240 Hurdy-Gurdy, 1006 Italian Landscape, 1004 Landscape with Ruin, 820 Ploughing, 1005

Berck-Heyde, G. A., p. 644 Church Interior, 1451 View in Haarlem, 1420

Bertucci, p. 245 Glorification of the Virgin, 282 Incredulity of St. Thomas, 1051

Betto, Bernardino di. See Pinturicchio

Bibiena, F. Teatro Farnese, Parma, 936

Bigio. See Franciabigio

Bigordi. See Ghirlandajo

Bissolo, Fr., ascribed to A Lady (portrait), 631

Bles, H., ascribed to Christ on the Cross, 718 The Magdalen, 719

Boccaccino, B. Procession to Calvary, 806

Boel, Pieter, p. xxi Dogs and Game, 1903

Bol, F. An Astronomer (portrait), 679

Boltraffio. See Beltraffio

Bonfigli, B. Adoration of Magi, 1843

Bonheur, Rosa The Horse Fair, 621

Bonifazio (the elder) Madonna and Child, 1202

Bono da Ferrara St. Jerome in the Desert, 771

Bonsignori, F. Venetian Senator (portrait), 736

Bonvicino. See Moretto

Bonvin, F. S. Village Green in France, 1448

Bordone, Paris, p. 317 Daphnis and Chloe, 637 Lux Mundi, 1845 Portrait of a Lady, 674 Portrait of a Lady, 2097

Borgognone, A., p. 266 A Triptych, 1077 The two St. Catherines, 298 Virgin and Child, 1410 See also 779-780 (p. xx)

---- School of Family Portraits, 779-780

Bosboom, Johannes Interior of Haarlem Church, 2712

Bosch, P. van den Woman scouring Pans, 2551

Both, Jan, p. 147 Goatherds, 957 Italian Landscape, 956 ---- 1917 Judgment of Paris, 209 Muleteers, 71 Walls of Rome, 958

Botticelli, Sandro, p. 495 Adoration of Magi, 592 ---- (circular), 1033 Madonna and Child (circular), 275 Mars and Venus, 915 Nativity of Christ, 1034 Young Man (portrait), 626 See also 782, 1126 (p. xx)

---- School of Adoration of Magi, 1124 Florentine Lady and Symbolic Angel, 2082 Madonna and Child, 782 Virgin and Child, etc. (circular), 226 ---- 2497 ---- with St. John, 1412 See also 916 (p. xx)

Botticini, Francesco, pp. xix, 536_n._ Assumption of the Virgin, 1126 Raphael and Tobias, 781 St. Jerome in the Desert, 227

Boucher, F. Pan and Syrinx, 1090

Boudin, L. E. Squall from the West, 2758 Trouville Harbour, 2078

Bourdon, Sebastien Return of the Ark, 64

Bouts, Albrecht, p. xx Christ Crowned with Thorns, 1083

Bouts, Dierick, pp. xix, 727 Deposition in the Tomb, 664 Madonna and Child Enthroned, 774 Portrait of a Man, 943 Virgin and Child, 2595

Brekelenham, Q., p. 628 Afternoon Nap, 2550 Interior, 1329 Tailor's Shop, 2549

British School. See 1652 (p. xxi)

Bronzino, Angelo, p. 322 Piero de' Medici, 1323 Portrait of a Boy, 649 Venus, Cupid, Folly, and Time, 651 See also 650, 670, 704 (pp. xix & xx)

---- School of Bianca Capello, 2085 Cosimo I., 704 Knight of St. Stephen, 670

Brouwer, Adrian Boors Drinking, 2569

Browne, Henriette A Greek Captive, 1969

Brueghel, Jan Pan and Syrinx, 659

Bruyn, Bartolomaus Dr. Fuchsius, 2605

Buitenweg, W. Landscape, 2731

Buonaccorso, Niccolò di Marriage of Virgin, 1109

Buonarroti. See Michael Angelo

Burgundian School Louis XI., 2612 Philip and Margaret, 2613

Busi, Giovanni. See Cariani

Calame, Alexandre Lake of Thun, 1786

Calcar, J. S. Venetian Gentleman and Child, 2597

Caliari. See Veronese, Paolo

Callot, James Tartarus (drawing), 2757

Campaña, Pedro Christ preaching in the Temple, 1241

Campi, Giulio A Musician, 2511

Campin, Robert, p. 729 Virgin and Child, 2609 ---- with Angels, 2608

---- School of Christ Appearing, 1086 Death of the Virgin, 658 The Magdalen, 654

Canaletto, p. 163 Eton College, 942 Rotunda at Ranelagh, 1429 Ruins, 135 Venice; Canal Reggio, 1058 Ducal Palace, 940 Grand Canal, 2514 Grimani Palace, 941 Piazza S. Marco, 2515 Piazzetta, 939 Procuratie Nuove, 2516 Regatta, 938 San Pietro in Castello, 1059 San Simeone Piccolo, 163 Scuola della Carità, 127 Scuola di San Rocco, 937

Cappelle, Jan van de, p. 448 A Calm, 2587 Coast Scenes, 865, 2586 Dutch Galliot, 2588 River Scenes, 964, 965, and 966 Shipping, 967

Caravaggio Christ at Emmaus, 172

Cariani, p. 582 An Italian Nobleman, 2494 Madonna and Child, 1203 Vierge aux Lauriers, 2495

---- ascribed to Death of Peter Martyr, 41

Carpaccio, Vittore. See 750

Carracci, Agostino, p. 168 Cephalus and Aurora, 147 Galatea, 148

Carracci, Annibale, p. 68 Bacchus and Silenus, 94 "Domine quo vadis?" 9 Erminia and the Shepherds, 88 Landscape with Figures (lake), 56 ---- (Giustiniani), 63 Man with a Beard, 2105 St. John in the Wilderness, 25 Silenus, 93 Temptation of St. Anthony, 198

Carracci, Ludovico Entombment of Christ, 86 Susannah and the Elders, 28

Carucci. See Pontormo

Casentino. See Landini

Castagno, Andrea del The Crucifixion, 1138

Catena, p. 218 Portrait of a Young Man, 1121 St. Jerome in his Study, 694 Warrior adoring, 234

Cavallino, B. Nativity, 1157

Cavazzola. See Morando

Cesare da Sesto, p. 710 Salome, 2485 Virgin and Child, 2504

Champaigne, Philippe de, p. 418 Cardinal J. F. P. de Retz, 2291 Cardinal Richelieu (heads), 798 Cardinal Richelieu (full length), 1449

Chardin, J. B. S., p. 599 La Fontaine, 1664 Still Life, 1258

Charnay, Armand Parc de Sansac, 2290

Chimenti, J., da Empoli San Zenobio, 1282

Cima da Conegliano, p. 270 David and Jonathan, 2505 "Ecce Homo!" 1310 Incredulity of St. Thomas, 816 Madonna and Child (goldfinch), 634 Madonna, 300 St. Jerome in the Desert, 1120 Virgin and Child, 2506

Cimabue Madonna and Child, 565

Cione, Andrea di. See Orcagna

Claude Lorrain, p. 57 Annunciation (or Angel and Hagar), 61 Cave of Adullam, 6 Cephalus and Procris, 2 Classical Landscape, 1018 Death of Procris, 55 Isaac and Rebecca, 12 Landscape ("Study of Trees"), 58 Narcissus and Echo, 19 Seaport: Queen of Sheba, 14 Seaport: St. Ursula, 30 ---- Sunset, 5 View in Rome, 1319

Clays, P. J., p. 425 Dutch Shipping, 814, 815

Clouet, F., ascribed to, p. 329 Boy (portrait), 1190 Man (portrait), 660

Codde, Pieter, p. 724 Dutchman with Wife and Son, 2576 Lady with Mirror, 2584

Cologne School. See German

Conca, Sebastiano Angel with Keys, 1870

Coques, Gonzales, p. 428 Family Group, 821 Five Senses, The, 1114-1118 Lady (portrait), 1011

Cordelle. See Agii

Corneille de Lyons Antoine de Bourbon, 2610 A Man in Black, 2611

Cornelissen, J., p. 327 Gentleman and Lady, 657 Duke Ulricus, 2209

Corot, J. B. C., p. 698 Bent Tree, 2625 Cows in a Marsh, 2630 Evening on the Lake, 2627 Fisherman's Hut, 2631 Flood, 2629 Marsh of Arleux, 2135 Noon, 2628 Wood Gatherer, 2626

Correggio, p. 69 "Ecce Homo!" 15 Magdalen, 2512 Mercury, Cupid, and Venus, 10 "Vierge au Panier," 23

---- copies after Agony in the Garden, 76 Groups of Heads, 7, 37

Cosimo, Piero di, p. 360 Death of Procris, 698 Francesco Ferruccio, 895

Cossa, Francesco del St. Hyacinth, Dominican, 597

Costa, Giovanni Carrara Mountains, 1493

Costa, Lorenzo Madonna and Child Enthroned, 629 Portrait of Dr. Fiera, 2083

Cotignola. See Zaganelli

Courbet, Gustave The Sea, 2767

Cranach, Lucas, p. 254 Portrait of a Man, 1925 Young Lady (portrait), 291

Credi, Lorenzo di, p. 295 Costanza de' Medici, 2490 Virgin adoring, 648 Virgin and Child, 593

Cristus, Petrus, pp. xx, 726 Marco Barbarigo, 696 Portrait of a Man, 2593

Crivelli, Carlo, p. 300 Annunciation, 739 Beato Ferretti, The, 668 Dead Christ, The, 602 Madonna and Child (swallow), 724 ---- (large altar-piece), 788 ---- (with St. Francis), 807 Madonna in Ecstasy, 906 St. Catherine and Mary Magdalene, 907

Cuyp, A., p. 136 Boy holding Horse, 2548 Cattle and Figures ("The Large Dort"), 961 ---- ("The Small Dort"), 962 ---- (small), 1289 ---- (large: evening), 53 Cattle with Herdsman, 2547 Horseman and Cows, 822 Landscape (Lady and Child), 2546 Man's Portrait, 797 On the Meuse, 823 River Scene, 2545 Ruined Castle, 824 Study of a Horse, 1683 Windmills, 960

Dalmasio. See Lippo

Daubigny, C. F., p. 732 Alders, 2623 Banks of a River, 2622 Garden Wall, 2624 Willows, 2621

David, Gerard, p. 502 Canon and Patron Saints, 1045 Marriage of St. Catherine, 1432 St. Jerome, 2596

David, G., attributed to Adoration of Magi, 1079 Deposition from the Cross, 1078

David, J. L. Eliza Bonaparte, 2217

Decker, C. G. Landscape, 1341

Delacroix, F. V. E. Attila, 2289

Delaroche, Paul Lady Jane Grey, 1909

Delen, Dirck van Renaissance Architecture, 1010

Diana, Benedetto Christ Blessing, 2725

Diaz de la Peña, p. 691 Common: Sunset, 2633 Sunny Days in the Forest, 2058 The Storm, 2632

Dietrich, J. W. E. Itinerant Musicians, 205

Dolci, Carlo Virgin and Child, 934

Domenichino, p. 128 Landscape (St. George and Dragon), 75 ---- (Tobias and Angel), 48 St. Jerome, 85 Stoning of St. Stephen, 77

Domenico Veneziano. See Veneziano

Dosso Dossi, p. 318 Adoration of Magi, 640 Muse and Court Poet, 1234

Dou, Gerard, p. 193 Painter's own Portrait, 192 Painter's Wife (portrait), 968 Portrait of a Lady, 1415 Poulterer's Shop, 825

Dubbels, H. Sea-Piece, 1462

Duccio, p. 277 Annunciation, 1139 Christ healing the Blind, 1140 Madonna and Child (triptych), 566 Transfiguration, 1330

Duchatel, François Portrait of a Boy, 1810

Ducreux, Joseph His own Portrait, 2162

Dughet. See Poussin, Gaspard

Dupré, Jules River Scene, 2634

Dürer, Albrecht Portrait of his Father, 1938

Dutch School (artists unknown) An Art Gallery, 1287 Interior of a Stable, 1851 Madame van der Goes, 1652 (see p. xxi) Old Woman Sewing, 1397 Portrait of a Young Man, 1680 Portrait of a Gentleman, 1700

Duyster, W. C. Players at Tric-Trac, 1387 Soldiers Quarrelling, 1386

Dyck, Sir Anthony van, p. 130 Charles I. (Blenheim portrait), 1172 Cornelius van der Geest ("Gevartius"), 52 His own Portrait, 877 Marchesa Cattaneo, 2144 Marchese Cattaneo, 2127 Miraculous draught of Fishes, 680 "Portrait of Rubens," 49 Study of Horses, 156 Theodosius and St. Ambrose, 50 For drawings by Van Dyck, see 877 A, B

Dyckmans, J. L. Blind Beggar, 600

Eeckhout, G. van den The Wine Contract, 1459

Elsheimer, Adam, p. 486 St. Lawrence, 1014 Tobias and the Angel, 1424

Emmanuel Sts. Cosmas and Damian, 594

Engelbertsz, Cornelis. See 714 p. xx

Ercole da Ferrara. See Grandi

Everdingen, Allart van Landscape, 1701

Eyck, Jan van, p. 187 Jan Arnolfini and Wife, 186 Man's Portrait, 222 ---- (Leal Souvenir), 290

Fabritius, B. Adoration of Shepherds, 1338 Birth of St. John, 1339

Fantin-Latour, H., p. 689 Apples, 2134 Mr. and Mrs. Edwin Edwards, 1952 Roses, 2133 Study of Flowers, 1686

Fava, Giangiacomo. See Macrino d'Alba

Ferrarese School (artist unknown) A Battle Piece, 1062

Ferrari, Gaudenzio Christ rising from the Tomb, 1465

Fiammingo, Enrico Man with a collar, 2104

Filipepi. See Botticelli

Fiorenzo di Lorenzo Altar-piece, 1103 Virgin and Child, 2483

Flemish School, 15th-16th centuries (artists unknown) Christ Appearing, 1280 Count and St. Ambrose, 264 Exhumation of St. Hubert, 783 Head of John the Baptist, 1080 Lady with Rosary, 2670 Madonna and Child (book), 265 ---- (curtain), 708 Madonna Enthroned, 2606 Man and Wife, 653 Man with Medallion, 2607 Man with a Ring, 2602 Portrait of a Lady, 1433 Portrait of a Man (gold chain), 947 ---- (praying), 1081 ---- (skull), 1036 Portrait of a Young Man (praying), 1063 Portrait of a Monk, 710 Virgin and Child, with St. Elizabeth, 1089 See also 696, 709, 774, 943, 1017, 1078, 1079, 1083, 1086, 1419, 1433 (pp. xx & xxi)

Florentine School, 15th century (artists unknown) Amor and Castitas, 1196 Savonarola (portrait), 1301 Virgin and Child, 2508 Young Man in Black, 2084 See also 227, 296, 781, 1199 (pp. xix & xx)

Foligno, Niccolò da Crucifixion, 1107

Foppa, Vincenzo Adoration of Kings, 729

Forli, Melozzo da "Rhetoric" and "Music," 755, 756

Fragonard, G. H. The Happy Mother, 2620

Francesca, Piero della, p. 334 Baptism of Christ, 665 Lady's Portrait, 758 Nativity, 908 St. Michael and Dragon, 769

Francesco di Giorgio St. Dorothy, 1682

Francia, p. 184 Bartolommeo Bianchini, 2487 Pietà (lunette of above), 180 Pietà, 2671 Virgin and Child (altar-piece), 179 Virgin and Child (smaller), 638

Francia Bigio Portrait of a Young Man, 1035

French School, 15th century (artists unknown) Duchesse d'Angoulême, 2617 Lady as Mary Magdalen, 2614 Legend of St. Giles, 1419 (see p. xxi) Madonna, 1335 Mary, Queen of France, 2615 Portrait of a Lady, 2616 Virgin and Child with Angels, 2618 ---- with Saints, 1939

Fungai, B. Madonna and Child, 1331. And see p. 749

Fyt, Jan Dead Birds, 1003 See also 1903 (p. xxi)

Gaddi, Taddeo, School of, p. 211. See Nos. 215, 216, 579, 579 A (and p. xix)

Gaetano. See Pulzone

Garofalo, p. 151 Agony in the Garden, 642 Holy Family, 170 Madonna and Child (altar-piece), 671 Vision of St. Augustine, 81

Geertgen Tot Sint Jans, p. xx Virgin and Child (triptych), 1085

Gellée. See Claude

Gennari, Benedetto His own Portrait, 2106

Géricault, J. L. A. T. Lithographs of Horses, 2423

German: School of Cologne Holy Family, 2603 St. Peter and St. Dorothy, 707 Sancta Veronica, 687 See also Lyversberg

German: Westphalian School Crucifixion, 1049 See also Master of Liesborn

German Schools, 15th-16th century Crucifixion, 1088 Mocking of Christ, 1087 Portrait of a Lady, 722 Portrait of a Medical Professor, 195 See also Schongauer

Ghirlandajo, Domenico, p. 591 Portrait of a Girl, 1230 Portrait of a Youth, 1299 The young Florentine, 2489

Ghirlandajo, Ridolfo Girolamo Benevieni, 2491 Procession to Calvary, 1143

Giolfino Niccolo Giusti Family, 749

Giorgione, p. 230 Adoration of Magi, 1160 Knight in Armour, 269

---- School of Garden of Love, 930 Unknown Subject, 1173 Venus and Adonis, 1123 See also 1160, No. 636 (p. xix)

Giotto, School of, p. 278 See also 276, 568 (p. xix)

Giovanni da Milano, p. xix Panels of altar-piece, 579 A

Giovenone, Girolamo Madonna and Child, 1295

Girolamo dai Libri Madonna and Child, with St. Anne, 748

Girolamo da Santa Croce, p. 313 A Saint, 633 ---- reading, 632

Girolamo da Treviso Madonna and Child, Enthroned, 623

Gonzalez, Juan G. Earl of Monmouth, 2527

Gossart. See Mabuse

Goya, Francesco, p. 660 Dr. Peral, 1951 The Bewitched, 1472 The Picnic, 1471 Lady's Portrait, 1473

Goyen, Jan van, p. 166 Landscape, 137 River Scenes, 151, 2580 Scene on the Ice, 2579 Stiff Breeze, 2577 Windmill, 2578 Winter Scene, 1327

Gozzoli, Benozzo, p. 245 Virgin and Child, 283 See also 591 (p. xix)

---- School of Rape of Helen, 591 Virgin and Child, 2863

Grandi, Ercole di Giulio, p. 531 Conversion of St. Paul, 73 Madonna and Child (altar-piece), 1119

Greco. See Theotocopuli

Greek Portraits: 2nd cent. A.D. Eleven Portraits, 1260-1270

Greuze, p. 205 Girl (with apple), 1020 ---- (with lamb), 1154 ---- (looking up), 1019 ---- 206

Guardi, Francesco, p. 207 Buildings and Figures, 2517 Courtyard in Venice, 2519 Ducal Palace, 2099 Gondola, 1454 Gothic Archway, 2518 Piazza S. Marco, 210 ---- (awnings), 2525 Quay-side, 2520 Ruins, 2521 S. Maria della Salute, 2098 Tower of Mestre, 2524 Treasure-seekers, 2522 View in Venice, 1054 View through Archway, 2523

Guercino A Pietà, 22

Guido Reni, p. 73 Christ and St. John, 191 Coronation of Virgin, 214 "Ecce Homo!" 271 Lot and his Daughters, 193 Magdalen, The, 177 St. Jerome, 11 Susannah and the Elders, 196

Hackaert, Jan Stag Hunt, 829

Hals, Dirk An Oyster Supper, 1074

Hals, Frans, p. 490 A Family Group, 2285 Lady with fan, 2529 Man with glove, 2528 Man's Portrait, 1251 Woman's Portrait, 1021

Harpignies, Henri Flax Trees, Villefranche, 2257 River Scene, 2256

Heda, W. K. Fruit-piece, 2592 Still Life, 1469

Heem, David de Fruit and Flowers, 2582

Heimbach, C. W. Portrait of a Youth, 1243

Helst, Barth. van der, p. 167 Lady's Portrait, 1937 Young Lady's Portrait, 1248

Hemessen, Catharina van Man's Portrait, 1042

Herrera, Francesco de Christ disputing, 1676

Heyden, Jan van der, p. 448 Architectural Scene, 992 Château, 1914 Church, 1915 Landscape, 993 Street in Cologne, 866 Street in a Town, 994

Hobbema, p. 347 Avenue, Middelharnis, 830 Brederode Castle, 831 Cottage in a Wood, 2570 Forest Scenery, 833 Path through a Wood, 2571 Showery Weather, 685 Village, with Watermills, 832 Woody Landscape, 995

Holbein, Hans, p. 613 Christina of Denmark, 2475 The Ambassadors, 1314 See also under 195

Holbein, Sigmund. See 722

Hondecoeter, p. 203 Domestic Poultry, 202 Geese and Ducks, 1013 Study of Foliage, Insects, etc., 1222

Honthorst, G. van Peasants, 1444

Hooch, Pieter de, p. 416 Dutch House (courtyard) 794 ---- (courtyard and porch), 835 ---- (interior), 834 Refusing the Glass, 2552

Huchtenburgh, Johan van Battle Piece, 211

Huysman, Jacob Isaak Walton, N.P.G., 125

Huysmans, Cornelis Landscape, 954

Huysum, Jan van, p. 416 Vase with flowers, 796 ---- (small), 1001

Ingegno, L' Madonna and Child, 1220 Virgin and Child, with Saints, 2484

Ingres, J. A. D. Madame Malibran, 2218

Isabey, Eugène Fish Market, Dieppe, 2715 Grandfather's birthday, 2714

Israels, Josef, p. 738 Shipwrecked Mariner, 2732 The Philosopher, 2713

Italian School, 15th cent. Virgin and Child, 1456

Italian School, 16th cent. (artists unknown) An Apostle, 272 Portrait of Knight of Malta, 932 See also 1048 (p. xx)

Jacopo Di Cione, p. xxi Crucifixion, 1468

Janssens, C., p. 626 Aglonius Voon (portrait), 1320 Cornelia Remoens, 1321 Portrait of a Lady, 2530

Jardin, Karel du, p. 431 Figures and Animals, 826 Fording the Stream, 827 Landscape with Cattle, 828 Sheep and Goats, 985

Jordaens, Jacob Baron de Linter, 1895

Justus of Padua Coronation of Virgin, 701

Keyser, T. de Merchant and Clerk, 212

Koninck, P. de, p. 435 View in Holland, 836 View of the Scheldt, 974

La Fargue Market-place, the Hague, 1918

Lancret, Nicholas The Four Ages, 101-104

Landini, Jacopo, p. 287 Ascension of St. John, Evangelist, 580 Holy Trinity and Annunciation, 580 A

Lanini, Bernardino Holy Family, 700

Leal. See Valdes

Le Brun, Madame Vigée Her own portrait, 1653

Lely, Sir Peter Portrait of a Girl, 1016

Le Nain A Portrait Group, 1425

Leonardo da Vinci The Virgin of the Rocks, 1093

Lepine, Stanislas Le Pont de la Tournelle, 2727

Le Sueur, Eustache Holy Family, 1422

Liberale de Verona, p. 548 Death of Dido, 1336 Virgin and Child, 1134

Libri, Girolamo dai Madonna, Child, and St. Anne, 748

Licinio, B. Man's Portrait, 1309

Liesborn, Meister von Adoration of Magi, 258 Annunciation, 256 Christ on the Cross, 259 Crucifixion, 262 Purification, 257 Sts. Cosmas, Damianus, and Virgin, 261 Three Saints, 260 ----, 254 ----, 255

Lievens, Jan Anna Maria van Schurman, 1095

Lingelbach, Jan Hay Harvest, 837

Lippi, Filippino, p. 257 Angel Adoring, 927 St. Francis in Glory, 598 Virgin and Child, St. Jerome, etc., 293 See also 592, 1033, 1124, 1412 (pp. xix & xx)

Lippi, Fra Filippo, p. 337 Annunciation, 666 Madonna and Child, 589 St. John and six Saints, 667 Vision of St. Bernard, 248 See also No. 586

Lippo di Dalmasii Madonna and Child, 752

Lochner, Stephen Three Saints, 705

Lodovico da Parma Bishop Hugo of Grenoble, 692

Lombard, Lambert The Deposition, 266

Lombard School (artist unknown) Dead Christ, 219 Portrait of a Young Man, 1052

Longhi, Pietro, p. 526 Andrea Tron (portrait), 1102 Domestic Group, 1100 Exhibition of Rhinoceros, 1101 Fortune Teller, 1334

Lorenzetti, Ambrogio Heads of Nuns, 1147

Lorenzetti, Pietro Legendary Subject, 1113

Lorenzo da San Severino Marriage of St. Catherine, 249

Lorenzo, Il Monaco, p. 683 Coronation of the Virgin, 1897 St. John Gualberto, 2862 Various Saints, 215, 216

Lotto, Lorenzo, p. 363 Family Group, 1047 Portraits of Ag. and Nic. della Torre, 699 Portrait of Prothonotary-Apostolic Juliano, 1105 Virgin and Child, 2281

Luciani. See Piombo, Seb. del

Lucidel, Nicolas Young Lady (portrait), 184

Luini, Bernardino Christ and the Pharisees, 18 Head of Christ, 2088

Lundens, Gerrit "The Night Watch," 289

Lyons. See Corneille

Lyversberg Passion, Master of the Presentation in the Temple, 706

Mabuse, p. 327 Adoration of the Kings, 2790 Jacqueline de Bourgogne, 2211 Magdalen, 2163 Man and Wife (portraits), 1689 Man's Portrait (small), 946 ---- (with rosary), 656

Macchiavelli, Zenobio Madonna and Child, 586

Macrino d'Albo Group of Saints, 1200, 1201

Maes, Nicolas, p. 171 A. van Leuwenhoek, 2581 Card Players, The, 1247 Cradle, The, 153 Dutch Housewife, The, 159 Man's Portrait, 1277 Servant, The Idle, 207

Mainardi, Bastiano Virgin and Child, 2502

Maître de Jean Perréal St. Clement and Donor, 2669

Manni, Giannicola Annunciation, 1104

Mansueti, Giovanni The Crucifixion, 1478

Mantegna, Andrea, p. 236 Agony in the Garden, 1417 Samson and Delilah, 1145 Summer and Autumn, 1125 Triumph of Scipio, 902 Virgin and Child, 274

Mantegna, Francesco, p. 318 "Noli me tangere," 639 Resurrection, 1106 The Holy Women at the Sepulchre, 1381

Mantovano. See Rinaldo

Maratti, Carlo Cardinal Cerri, 174

Marco d' Oggionno Madonna, 1149

Margaritone Virgin and Child, etc., 564

Marieschi, Jacopo Towns and Rivers, 2102, 2103

Marinus van Romerswael Two Usurers, 944

Maris, Jacob Drawbridge, 2710 Mother and Child, 2709

Marmion, Simon Choir of Angels, 1303 St. Bertin, 1302

Martino da Udine. See Pellegrino

Marziale, Marco, p. 419 Circumcision, 803 Madonna and Child Enthroned, 804

Master of the Death of the Virgin Holy Family, 2603

Matteo di Giovanni, p. 561 Assumption of the Virgin, 1155 "Ecco Homo!" 247 St. Sebastian, 1461

Mauve, Anton Watering Horses, 2711

Mazo, J. B. Martinez del Man's Portrait, 1308

Mazzola, Filippo Virgin and Child, 1416

Mazzola, Francesco. See Parmigiano

Mazzolino da Ferrara, p. 179 Christ Disputing, 1495 Holy Family (St. Francis, etc.), 82 ---- (St. Nicolas, etc.), 169 Woman taken in Adultery, 641

Meldolla. See Schiavone

Melone, Altobello Christ on the way to Emmaus, 753

Melozzo da Forli. See Forli

Memlinc, Hans, p. 349 Duke of Cleves, 2594 Virgin and Child, 709 Virgin and Child, Enthroned, 686

---- ascribed to St. John and St. Lawrence, 747

Mengs, A. R. Virgin and Child, 1109 A (1099)

Merian, Matthew, the younger Portrait of a Man, 1012

Merigi. See Caravaggio

Messina. See Antonello

Metsu, Gabriel, p. 436 Drowsy Landlady, The, 970 Duet, The, 838 Forge, The, 2591 Music Lesson, The, 839 Woman at Window, 2590

Metsys, Quentin, p. 261 Crucifixion, 715 "Salvator Mundi," 295

Meulen, A. F. van der A Hunting Party, 1447

Michael Angelo, p. 410 Dream of Human Life, 8 Entombment, 790 Madonna, etc., 809

Michel, Georges Stormy Landscape, 2759 Woodland Scene, 2258

Michele da Verona Coriolanus, etc., 1214

Miereveld, M. J. van Portrait of a Lady, 2292

Mieris, Frans van, p. 436 Lady and Parrot, 840 Young Astrologer, 2589

Mieris, Willem van Fish and Poultry Shop, 841

Milanese School, 15th-16th century Head of John the Baptist, 1438 Virgin and Child, 1300

Millet, J. F. The Whisper, 2636

Mocetto, Girolamo Massacre of the Innocents, 1239, 1240

Modena. See Barnaba

Mola, P. F., p. 146 St. John, 69 The Repose, 160

Molenaer, Jan Miense Musical Pastime, 1293

Mompers, Joos Landscape, 1017

Montagna, Bart., p. 419 Madonna and Child (asleep), 1098 ---- (with cherry), 802

Morales, Luis de Virgin and Child, 1229

Morando, Paolo, p. 379 Madonna and Child, 777 St. Roch with the Angel, 735

More, Sir Antonio, p. 524 Portrait of a Man, 1231

---- ascribed to Portrait of a Man, 1094 Portrait of a Lady, 1860

Moretto, Il, p. 267 Angels, 2090, 2091 Italian Nobleman, 299 Italian Nobleman, 1025 St. Bernardino of Siena, 625 St. Hippolytus, 1165 St. Jerome, 2093 St. Joseph, 2092

Morone, Domenico Scenes at a Tournament, 1211, 1212

Morone, Francesco Madonna and Child, 285

Moroni, p. 359 Ecclesiastic (portrait), 1024 Il Cavaliere, 2094 Italian Lady (portrait), 1023 Italian Nobleman (portrait), 1022 ---- (Longford picture), 1316 Lawyer (portrait), 742 Tailor (portrait), 697

Mostaert, Jan See 713 (p. xx)

Moucheron, Frédéric de, p. 437 Garden Scene, 842 Landscape, 1352

Murillo, p. 79 Boy Drinking, 1286 Holy Family, 13 Nativity of Virgin, 1257 St. John and the Lamb, 176 Spanish Peasant Boy, 74 For Copies from Murillo, see p. 755

Neeffs, Pieter, p. 468 Church Interiors, 924, 2205 Vespers, 2206 After Vespers, 2207

Neer, Aart van der, p. 171 Canal Scene, 732 Dawn, 2283 Evening Landscape, 152 Frost Scene, 969 ---- 1288 Landscape, 2537 Moonlight Scenes, 239, 2536 River Scene, 2534

Neer, Eglon H. van der Judith, 2535

Netscher, Gaspard, p. 437 Blowing Bubbles, 843 1st Earl of Berkeley, 1332 Lady and Spinning Wheel, 845 Maternal Instruction, 844

Niccolò da Foligno. See Foligno

Niccolò di Buonaccorso. See Buonaccorso

Niccolò di Pietro Gerini, p. xix Baptism of Christ, 579

Ochtervelt, J., p. 699 Lady at her Toilet, 2553 Lady at a Spinet, 2143

Oggionno. See Marco

Oost, Jacob van Portrait of a Boy, 1137

Orcagna, p. 281 Coronation of the Virgin (altar-piece), 569-578 St. John the Baptist, etc., 581

Oriolo, Giovanni Leonello, d'Este (portrait), 770

Orley, Bernard von Madonna and Child, 714 See also 655

Orsi, Lelio The Walk to Emmaus, 1466

Ortolano, L' St. Sebastian, etc., 669

Os, Jan van, p. 487 Fruit and Flowers, 1380 Fruit-piece, 1015

Ostade, Adrian van, p. 438 Alchymist, 846 Cobbler, The, 2541 Courtship, 2542 Hurdy-Gurdy, 2540 Man with a Jug, 2543

Ostade, Isaak van, p. 440 Cart, The, 2544 Farmyard, 1347 Frost Scene, 848 Frozen River, 963 Village Scene, 847

Pacchia, Girolamo del Madonna and Child, 246

Pacchiarotto, J. The Nativity, 1849

Padovanino, p. 147 Boy with a Bird, 933 Cornelia and her Jewels, 70

Palamedes, A. A Musical Party, 2575

Palma Vecchio Portrait of a Poet, 636

Palmezzano, Marco Entombment, 596

Panini, Giov. Antonio A View in Rome, 138

Pape, Abraham de Cottage Interior, 1221

Parma. See Lodovico

Parmigiano Vision of St. Jerome, 33

Passignano (Domenico Cresti) Portrait of Galileo, 2294

Patinir, Joachim, p. 370 Flight into Egypt, 1084 River Scene, 1298 St. Agnes adoring, 945 St. Christopher, 716 St. John on Patmos, 717 Visitation, 1082 See also 715 (p. xx)

Pellegrino da San Daniele Madonna and Child, 778

Penni, Luca Holy Family, 2293

Perugino, p. 249 Adoration (fresco), 1441 Baptism of Christ, 1431 Virgin and Child (small), 181 ---- (archangel), 288 ---- (St. Francis, etc.), 1075

Peruzzi, Baldassare, p. 212 Adoration of Kings (drawing), 167 ---- (picture), 218

Pesellino, Francesco The Trinity, 727

Piazza, Martino St. John Baptist, 1152

Pier, Francesco Fiorentino, p. xxi Madonna and Child, 1199

Piero della Francesca. See Francesca

Piero di Cosimo. See Cosimo

Pinturicchio, p. 355 Madonna and Child, 703 Return of Ulysses, 911 St. Catherine of Alexandria, 693

Piombo, Sebastiano del, p. 56 Daughter of Herodias, 2493 His own Portrait and Ippolito de' Medici, 20 Holy Family, 1450 Portrait of Lady as St. Agatha, 24 Resurrection of Lazarus, 1

Pippi. See Romano, Giulio

Pisano, Vittore, p. 401 St. Anthony and St. George, 776 Vision of St. Eustace, 1436

Poel, Egbert van der Explosion at Delft, 1061

Poelenburgh, Cornelis van Judgment of Paris, 209 River, with women bathing, 955

Pollajuolo, p. 255 Apollo and Daphne, 928 Martyrdom of St. Sebastian, 292

---- School of Portrait of a Lady, 585

Ponte, Jacopo da. See Bassano

Pontormo, Jacopo da Joseph and his Brethren, 1131

---- ascribed to Portrait of a Man, 1150

Poorter, W. van de Allegorical Subject, 1294

Pordenone. See 272

Pot, Hendrik Gerritsz Convivial Party, 1278

Potter, Paul, p. 440 Cattle in Stormy Landscape, 2583 Landscape with Cattle, 849 Old Grey Hunter, 1009

Potter, Pieter Stag Hunt, 1008

Pourbus, Frans, the younger A Military Commander, 2295

Poussin, Charles Pardon Day in Brittany, 810

Poussin, Gaspard, p. 102 Abraham and Isaac, 31 Calling of Abraham, 1159 Dido and Æneas, 95 Italian Landscape, 161 Land Storm, 36 Landscapes, 2723, 2724 View near Albano, 68 ---- of La Riccia, 98

Poussin, Nicolas, p. 116 Bacchanalian Dance, 62 Bacchanalian Festival, 42 Cephalus and Aurora, 65 Landscape, 2619 Nursing of Bacchus, 39 Phocion, 40 Plague at Ashdod, 165 Venus and Satyrs, 91

Predis, Ambrogio de, p. 667 Bona of Savoy, 2251 Portrait of a Young Man, 1665 Wings of the altar-piece No. 1093, 1661, 1662

Previtali, Andrea, p. 358 Madonna and Child (with monk), 695 Madonna and Child, 2500 Salvator Mundi, 2501

Prevost, Jan, p. xx Virgin and Child, 713

Pulzone, Scipione Portrait of a Cardinal, 1048

Quast, Pieter Cavalier, 2856

Raguineau, A. Portrait of a Youth, 1848

Raibolini. See Francia

Raphael, p. 567 Ansidei Madonna, 1171 Bridgewater Madonna (copy), 929 Garvagh Madonna, 744 Madonna di San Sisto (tracing), 661 Madonna di Sant' Antonio, p. 749 Madonna of the Tower, 2069 Pope Julius II. (portrait), 27 St. Catherine of Alexandria, 168 Vision of a Knight, 213

Ravesteijn, A. van Lady's Portrait, 1423

Rembrandt, p. 121 Adoration of the Shepherds, 47 Burgomaster, 1674 Capuchin Friar (portrait), 166 Christ before Pilate, 1400 Christ taken down from the Cross, 43 Diana Bathing, 2538 His own Portrait (young), 672 ---- (old), 221 Jew Merchant (portrait), 51 Jewish Rabbi (portrait), 190 Landscape (Tobias and Angel), 72 Man's Portrait (with collar), 850 ---- (date 1659), 243 ---- (with cap), 2539 Old Lady's Portrait (dated 1634), 775 ---- ("Burgomaster's Wife"), 1675 Woman Bathing, 54 Woman's Portrait (dated 1666), 237 Woman taken in Adultery, 45 For copies from Rembrandt, see p. 754 and No. 289

Rembrandt, School of Christ blessing Little Children, 757

Reni. See Guido

Rhine, School of the, See 1080, 1085 (p. xx)

Ribera. See Spagnoletto

Ricci, Sebastiano, p. 441 Esther and Ahasuerus, 2101 Venus Sleeping, 851

Rigaud, Hyacinthe, p. 459 Cardinal Fleury, 903 Lulli and Musicians, 2081

Rimini, Giovanni Francesco da Madonna and Child, 2118

Rinaldo Mantovano, p. 320 Capture of Carthagena, etc., 643 Rape of Sabines, etc., 644

Roberti, Ercole de', p. 540 Adoration of the Shepherds, 1411 A Concert, 2486 Israelites gathering Manna, 1217 The Last Supper, 1127

Robusti. See Tintoretto

Rokes, Hendrik. See Sorgh

Romanino, p. 264 Portrait of a Man, 2096 The Nativity, 297

Romano, Giulio, p. 306 Beatific Vision of the Magdalen, 225 Infancy of Jupiter, 624

Romerswael. See Marinus

Rosa, Salvator, p. 153 Hagar, 2107 Landscape and Figures, 1206 Mercury and Woodman (landscape), 84 River Scene, 935 Tobias and Angel (landscape), 811

Rosselli, Cosimo. See No. 227

Rossi, Francesco Charity, 652

Rottenhammer. See 659 (p. xix)

Rousseau, P. E. Théodore, p. 707 River Scene, 2439 Sunset at Auvergne, 2635

Rousseau, Philippe The Fish Market, 2480

Rubens, p. 111 Apotheosis of William the Silent, 187 Birth of Venus (design for salver), 1195 Brazen Serpent, 59 Chapeau de Poil, 852 Conversion of St. Bavon, 57 Diana and Endymion, 2598 Drawings, 853 a-p Holy Family, St. George, etc., 67 Horrors of War, 279 Judgment of Paris, 194 Landscape (Château de Stein), 66 ---- (sunset), 157 Peace, 46 Rape of the Sabines, 38 Triumph of Julius Cæsar, 278 Triumph of Silenus, 853 See also 680

Ruysch, Rachel Flower-pieces, 1445, 1446

Ruysdael, Jacob, p. 309 Bleaching Ground, 44 Broken Tree, 991 Cottage and Haystack, 2565 Cottage on a Hill, 2564 Entrance to the Forest, 2563 Forest Scene, 854 Landscapes with Waterfall, 627, 628, 737 Landscape with Ruins, 746 Landscape with Torrent, 987 Old Oak, 988 Ruined Castle, 2562 Shore at Scheveningen, 1390 Skirts of a Forest, 2566 Stormy Sea-piece, 2567 View near Haarlem, 990, 2561 Waterfall, 855 Watermills, 986, 989

Ruysdael, Salomon, p. 632 Fishing in the River, 1439 Landscape, 1344

Ryckhaert, Martin Landscape, 1353

Saenredam, Pieter, p. 683 Interior of a Church, 1896 Interior of St. Bavon, 2531

St. Aubin, Augustin de J. B. Lalli (engraving), 2136

St. Aubin, Gabriel de Une Parade, 2129

Safleven, Herman Christ in Peter's Ship, 2062

Salvi. See Sassoferrato

Salviati. See Rossi

San Daniele, Pellegrino da Madonna and Child, 778

San Severino. See Lorenzo

Santa Croce. See Girolamo

Santi, Giovanni Madonna and Child, 751

Sanzio. See Raphael

Sarto, Andrea del, p. 352 His own Portrait, 690 Holy Family, 17

Sassetta, Stefano di Giovanni Heads of Angels, 1842 (p. xxi)

Sassoferrato, p. 203 Madonna and Child, 740 Madonna in Prayer, 200

Savoldo, Giov. Girolamo, p. 462 Mary Magdalene at the Sepulchre, 1031 See also 1377

Schalcken, Godfried, p. 202 Candle Light, 999 Duet, 998 Lesbia and the Sparrow, 199 Scouring the Kettle, 997

Scheffer, Ary, p. 566 St. Augustine and St. Monica, 1170 Mrs. R. Hollond (portrait), 1169

Schiavone, Andrea Jupiter and Semele, 1476

Schiavone, Gregorio, p. 312 Madonna and Child, 904 Madonna Enthroned, 630

Schongauer, Martin, after See also 658 (p. xix)

Schorel, Jan van, p. 372 Portrait of a Lady, 721 The "Repose," 720

Segna di Buonaventura A Crucifixion, 567

Sellaio, Jacopo del, p. 712 Venus and Cupids, 916 Virgin and Child, 2492

Siberechts, Jan The Water Lane, 2130

Sienese School (artists unknown) Marriage of the Virgin, 1317 Virgin Enthroned, 1108

Signorelli, Luca, p. 541 Adoration of the Shepherds, 1776 Circumcision, 1128 Holy Family, 2488 Nativity, 1133 Triumph of Chastity, 910 Virgin crowned by angels, 1847

Snyders, Frans Fruit-piece, 1252

Snyers, Pieter Still Life, 1401

Sodoma, Il, p. 556 "Ecce Homo!" 1337 Madonna and Child, 1144

Solario, Andrea da, p. 377 Giro. Cr. Longono (portrait), 734 Venetian Senator (portrait), 923

Solario, Antonio da Holy Family, 2503

Sorgh, Hendrick, p. 507 Boors at Cards, 1055 Two Figures drinking, 1056

Spagna, Lo, p. 493 Agony in the Garden, 1032

---- ascribed to Agony in the Garden, 1812 "Ecce Homo!" 691

Spagnoletto, p. 220 Dead Christ, 235 Shepherd with Lamb, 244

Spanish School Adoration of Magi, p. 751 Peasant and Child, 2526

Spinello, Aretino, p. 288 Rebel Angels (fresco fragments), 1216 Two Apostles, 276 See also 581, 1468 (pp. xix, xxi)

Steen, Jan, p. 445 Grace before meat, 2558 Interior, 1378 Merry-makers, 2557 Music Master, 856 Oyster Feast, 2559 Pedlar, 2556 Skittle Players, 2560 Terrace Scene, 1421 Woman Asleep, 2555

Steenwyck, Hendrick, p. 547 An Interior, 1132 Church Interiors, 1443, 2204

Steenwyck, Herman Study of Still Life, 1256

Stephan, Master. See Lochner

Storck, Abraham View on the Maas, 146

Tacconi, Francesco Virgin Enthroned, 286

Teniers, David, the elder, p. 476 Conversation, 950 Playing at Bowls, 951 Rocky Landscape, 949

Teniers, the younger, p. 172 Backgammon, 242 Boors Regaling, 158 Card Players, 2600 Château at Perck, 817 Country Scene, 861 Dives in Hell, 863 Four Seasons, 857-860 Money Changers, 155 Music Party, 154 Old Woman peeling Pears, 805 Old Woman reading, 2601 Surprise, 862 Toper, 953 Village Fête, 952 Visit to the Doctor, 2599

Terburg, Gerard, p. 447 Guitar Lesson, 864 Man's Portrait, 1399 Peace of Münster, 896

Theotocopuli, Domenico, p. 533 Christ in the Temple, 1457 St. Jerome, 1122

Tiepolo, Giov. Battista, p. 577 Deposition, 1333 Designs for Altar-pieces, 1192, 1193 Marriage of Barbarossa, 2100 Virgin and Child, 2513

Tintoretto, p. 84 Christ washing Disciples' Feet, 1130 St. George and the Dragon, 16 The Milky Way, 1313

Tisio. See Garofalo

Titian, p. 63 Bacchus and Ariadne, 35 Holy Family (landscape), 4 Madonna and Child, St. Catherine, etc., 635 "Noli me Tangere," 270 Portrait of Ariosto, 1944 Venus and Adonis, 34 See also 636 (p. xix)

---- School of Concert, 3 Rape of Ganymede, 32 Tribute Money, 224

Treviso. See Girolamo

Troy, J. F. de "La Main Chaude," 2216

Tura, Cosimo, p. 399 Madonna and Child, 772 St. Jerome in the Desert, 773 The Virgin Mary, 905

Tuscan School. See 1842 (p. xxi)

Ubertini. See Bacchiacca

Uccello, Paolo Battle of Sant' Egidio, 583

Ugolino da Siena, p. 576 Betrayal of Christ, 1188 Procession to Calvary, 1189

Umbrian School (artists unknown) Griselda, 912-914 Madonna and Child, 702 Marcus Curtius, 1304 Portrait of Raphael (?), 2510 St. Catherine, 646 St. Ursula, 647 See also 585 (p. xix)

Unknown. (See under Dutch, Ferrarese, Flemish, Florentine, German, Greek, Italian, Milanese, Sienese, Tuscan, Umbrian, Venetian, and Veronese)

Valdes, Leal, Juan de Assumption of Virgin, 1291

Vallin, Jacques Antoine Dr. Forlenze (portrait), 2288

Vannucci, Pietro. See Perugino

Varotari. See Padovanino

Vecellio. See Titian

Velazquez, p. 196 Admiral Pulido Pareja, 1315 Christ at the Column, 1148 Christ in the House of Martha, 1375 Dead Warrior ("El Orlando Muerto"), 741 Philip IV. (portrait bust), 745 ---- (portrait; full length), 1129 Venus and Cupid, 2057 Wild Boar Hunt, 197 For copies from Velazquez, see p. 752 See also 1376, 1434 (p. xxi)

---- ascribed to Betrothal, 1434 Duel in the Prado (sketch), 1376

Velde, Adrian van de, p. 449 Bay Horse, 983 Farm Cottage, 867 Ford, 868 Forest Scene, 982 Frost Scene, 869 Landscape, 1348 Landscape and Cattle, 984 The Little Farm, 2572

Velde, Jan van de Still Life, 1255

Velde, Willem van de, the younger, p. 169 Calm at Sea, 149, 2573 Calm at Sea (Sir R. Peel's), 874 Coast Scene, 871 Coast of Scheveningen, 873 Dutch Ships of War, 980 Gale, 876 Gale at Sea, 150 Light Breeze, 875 River Scene, 978 Sea Piece, 977 Shipping, 979 ---- in a Calm, 870 ---- off the Coast, 872 Storm at Sea, 981 Windy Day, 2573

Venetian School (artists unknown) Adoration of the Shepherds, 1377 Landscape with Nymphs, 1695 Portrait of a Lady, 595 Portraits of Senators, 1489, 1490 See also 1121 (p. xx)

Veneziano, Bartolommeo, p. 249 Portrait of a Lady, 2507 Portrait of Ludovico Martinengo, 287

Veneziano, Domenico, p. 395 Heads of Saints, 766 Madonna and Child, 1215

Venusti, Marcello, p. 578 Christ and the Traders, 1194 Virgin and Child, etc., 1227

Vermeer, Jan, p. 636 Young Lady at the Virginals, 1383 A Lady at the Virginals, 2568 See also 1699 (p. xxi)

---- attributed to A Family Group, 2764 The Lesson, 1699

Vermeulen, Andries Scene on the Ice, 1850

Vernet, Claude Joseph, p. 222 Castle of Sant' Angelo, 236 Mediterranean Seaport, 1393

Vernet, Horace Napoleon I. (portrait), 1285

Veronese, Paolo, p. 95 Adoration of the Magi, 268 Consecration of St. Nicholas, 26 Family of Darius, 294 Happy Union, 1326 Magdalen and her Jewels, 931 Rape of Europa, 97 Respect, 1325 Scorn, 1324 Unfaithfulness, 1318 Vision of St. Helena, 1041

Veronese, Paolo, after See also 97 (p. xix)

Veronese School (artist unknown) The Clemency of Trajan, 1135, 1136

Verrocchio, Andrea Virgin Adoring, 296

Victoors, Jan Village Cobbler, 1312

Vinci. See Leonardo

Vivarini, Alvise, p. 682 Madonna and Child, 1872 Man in Black, 2095 Portrait of a Youth, 2509 Venetian Gentleman, 2672

Vivarini, Antonio, p. 396 Sts. Francis and Mark, 1284 Sts. Peter and Jerome, 768

Vivarini, Bartolommeo Virgin and Child, 284

Vliet, Willem van der Portrait of a Jesuit, 1168

Walscappelle, Jacob Flowers, Insects, etc., 1002

Weenix, Jan, the younger Dead Game, 238

Weenix, Jan Baptist Hunting Scene, 1096

Weier, J. Battle Scene, 1470

Werden, Meister van Four Saints, 250 ---- 251 Mass of St. Hubert, 253

Werff, Adrian van der His own portrait, 1660

Wet, Jan de Landscape, 1342

Weyden, Roger van der, p. 332 "Ecce Homo!" 712 Mater Dolorosa, 711 Portrait of a Lady, 1433 See also 654, 664

Wils, Jan Rocky Landscape, 1007

Witte, Emanuel, de Church Interior, 1053

Wouwerman, J. Landscape, 1345

Wouwerman, Philips, p. 453 Battle Piece, 976 Bohemians, 2282 Gathering Faggots, 881 Interior of Stable, 879 Landscape, 882 "Pretty Milkmaid," 878 Sandbank, 973 Sea Shore, 880 Shoeing a Horse, 2554 Stag Hunt, 975 The Bohemians, 2282 Vedettes on the Watch, 1060

Wynants, Jan, p. 454 Landscape (crippled beggar), 883 ---- (sand dunes), 884 ---- (woman on donkey), 971 ---- (sportsman and dog), 972 Sandy Lane, 2533 Woman driving Sheep, 2532

Ysenbrandt, Adrian St. Mary Magdalen,2585

Zaganelli St. Sebastian, 1092

Zais, Giuseppe, p. 607 River Scene, 1297 Rural Landscape, 1296

Zampieri. See Domenichino

Zoppo, Marco Deposition in the Tomb, 590

Zuccarelli Gate of Tower, 2086 Pastoral Landscape, 2087

Zurbaran, Francisco, p. 216 Adoration of the Shepherds, 232 Franciscan Monk, 230 St. Margaret, 1930

APPENDIX II

INDEX LIST OF PICTURES

In this Index all the pictures (of Foreign Schools) belonging to the National Gallery are enumerated in the order of the numbers given to them on the frames and in the Official Catalogues.

Following the title and painter of each picture, there has been in previous editions of the Handbook a reference to the room in the Gallery in which the picture was hung; but as the Gallery is now, and will for some time be, under extensive rearrangement (see above, p. xxv), these references are for the present omitted.

Several pictures belonging to the National Gallery have, however, been removed on loan to other institutions (under a Treasury Minute, 1861, and the "National Gallery Loan Act," 1883). These pictures are distinguished in the Index by their titles being printed in italics; whilst the name of the institution, or (in the case of provincial galleries) the name of the town in which they are now to be seen is stated in the fourth column.

In the next two columns, the manner and date of each picture's acquisition are given. The names are those of the persons from whom the pictures were purchased, or by whom they were given or bequeathed.

In the last column, the prices paid for all the purchased pictures are given. Except where otherwise specified, the funds out of which pictures were purchased have been provided by Parliamentary Grants. The Trustees have at their disposal other funds derived from the Clarke, Lewis, Mackrell, Temple West, and Walker bequests. (The Wheeler bequest is available for the purchase of English pictures only.) The letter C., L., M., or W. before the price in the last column denotes that the funds were derived from one or other of those bequests.

The dates of the appointment of successive Keepers or Directors are also given at their proper places in the Index, so that the curious reader may discover the use made by these officers of the funds at their disposal. It should, however, be remembered that up to 1855 the responsibility for purchases rested rather with the Trustees and the Treasury than with the Keeper.

The following is a summary of the cost of the pictures (both British[265] and Foreign) purchased up to the end of 1906:--

/================================================\ | PURCHASED out of PARLIAMENTARY GRANTS. | |------------------------------------------------+ |Pictures-- £ s. d. | |------------------------------------------------+ | 38 (Angerstein Collection) 57,000 0 0 | | 31 (Lombardi-Baldi " ) 7,035 0 0 | | 33 (Beaucousin " ) 9,205 3 0 | | 77 (Peel) " 75,000 0 0 | |405 (Smaller Purchases) 332,073 8 5 | | 2 (Blenheim Collection) 87,500 0 0 | | 3 (Longford " ) 25,000 0 0 | | 4 (Lord Northbrook) 8,000 0 0 | | 2 (Saumarez Rembrandts) 14,050 0 0 | | 2 (Lord Northampton) 10,000 0 0 | | 2 (Genoa Vandycks) 25,000 0 0 | | 1 (Lord Talbot de Malahide) 25,000 0 0 | |--- -------------- | |601 pictures at a cost of £ 683,863 11 5 | |================================================| | PURCHASED out of PRIVATE BEQUESTS, ETC. | |------------------------------------------------+ |Pictures-- £ s. d. | | 38 Clarke Fund 11,929 8 2 | | 29 Lewis " 8,666 9 0 | | 21 Walker " 10,097 17 6 | | 11 Wheeler " 2,940 0 0 | | Grant from Lewis Fund towards | | purchase of No. 1247 151 10 0 | | Gifts for Longford Pictures 30,000 0 0 | | " " Rembrandts 1,000 0 0 | | Titian's Ariosto 21,000 0 0 | | 1 Velasquez' Venus 45,000 0 0 | |--- -------------- | |100 pictures at a cost of £ 130,785 5 2 | \================================================/

It will be seen from this table that 701 pictures in all have been purchased at a total cost of £814,648: 16: 7, an average of £1162 per picture.

A. Mr. Angerstein's Collection (38 pictures) was purchased in one lot for £57,000.

(1) Nos. 9, 35, and 62 were purchased together for £9000.

(2) Nos. 10 and 15 were purchased together for £11,500.

(3) Nos. 13 and 59 were purchased together for £7350.

(4) The Krüger Collection (64 pictures) was purchased in 1854 by, and on the responsibility of, the then Chancellor of the Exchequer (Mr. Gladstone), for £2800. Seventeen of them were originally hung in the Gallery; 10 were sent to Dublin; and the remaining 37 were sold at Christie's in 1857, and realised £249: 8_s._, or £6: 14_s._ each. Of the 17 originally hung in the Gallery, all but 4 were weeded out in 1862, the rejected pictures being divided between Dublin and the Science and Art Department.

(5) Nos. 280, 285, and 286, together with five others deposited in the National Gallery of Ireland, and two which were sold at Christie's for £130: 9_s._, were purchased from the Baron Galvagna, Venice, for £2189: 16: 10.

(6) The Lombardi-Baldi Collection (Florence), 31 pictures, was purchased in one lot for £7035.

(7) The Beaucousin Collection of 46 pictures (13 of which were not kept for the Gallery) was purchased at Paris in one lot for £9205: 3: 1.

(8) The Peel Collection of 77 pictures and 18 drawings was purchased in one lot for £75,000.

Key for Where Hung: B = Bootle C = Chester E = Edinburgh D = Dublin G = National Gallery K = South Kensington N = Newport O = Oldham P = National Portrait Gallery R = Greenock S = Stockport X = Exeter

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | | | Mr. William Sebuier was appointed Keeper in 1824. | | | | | | | | | | 1|Raising of Lazarus. |Seb. del Piombo |G|P. Angerstein |1824| A | | 2|Cephalus and Procris|Claude |"|P. " | " | " | | 3|A Concert |Sch. of Titian|"|P. " | " | " | | 4|Holy Family |Titian |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 5|Seaport |Claude |"|P. Angerstein |1824| A | | 6|Cave of Adullam | " |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 7|Group of Heads |Aft. |"|P. Angerstein |1824| A | | | | Correggio | | | | | | 8|Dream of Human Life |Michael Angelo |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 9|"Domine quo vadis" |An. Carracci |"|P. Hamlet |1826| (1) | | 10|Mercury, Venus, |Correggio |"|P. Ld. |1834| (2) | | | and Cupid | | | Londonderry| | | | 11|St. Jerome |Guido |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 12|Isaac and Rebecca |Claude |"|P. Angerstein |1824| A | | 13|Holy Family |Murillo |"|P. Bulkeley |1837| (3) | | | | | | Owen | | | | 14|Seaport |Claude |"|P. Angerstein |1824| A | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 15|"Ecce Homo!" |Correggio |G|P. Ld. |1834| (2) | | | | | | Londonderry | | | | 16|St. George & Dragon |Tintoretto |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 17|Holy Family |Andrea del Sarto|"|B. " | " | | | 18|Christ and the |B. Luini |"|B. " |1831| | | | Pharisees | | | | | | | 19|Narcissus and Echo |Claude |"|G. Sir. G. |1826| | | | | | | Beaumont | | | | 20|Ippolito de' Medici |S. del Piombo |"|B. Rev. W. H. |1831| | | | and S. del Piombo | | | Carr | | | | 21|Portrait of a Lady |Cristofano Allori|"|B. " | " | | | 22|Dead Christ |Guercino |"|B. " | " | | | 23|La Vierge au Panier |Correggio |"|P. M. Perrier |1825| £3,800 | | 24|Portrait of a Lady |Seb. del Piombo |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 25|St. John in the |An. Carracci |"|P. Angerstein |1824| A | | | Wilderness | | | | | | | 26|St. Nicholas |P. Veronese |"|G. Brit. Inst.|1826| | | 27|Julius II |Raphael |"|P. Angerstein |1824| A | | 28|Susannah |L. Carracci |"|P. " | " | " | | 29|"Madonna del Gatto" |Baroccio |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 30|St. Ursula |Claude |"|P. Angerstein |1824| A | | 31|Sacrifice of Isaac |G. Poussin |"|P. " | " | " | | 32|Rape of Ganymede |Sch. of Titian|"|P. " | " | " | | 33|Vision of St. Jerome|Parmigiano |"|G. Brit. Inst.|1826| | | 34|Venus and Adonis |Titian |"|P. Angerstein |1824| A | | 35|Bacchus & Ariadne | " |"|P. Hamlet |1826| (1) | | 36|Land Storm |G. Poussin |"|P. Angerstein |1824| A | | 37|Group of Heads |Aft. Correggio|"|P. " | " | " | | 38|Rape of the Sabines |Rubens |"|P. " | " | " | | 39|Nursing of Bacchus |N. Poussin |"|B. G. J. |1831| | | | | | | Cholmondeley| | | | 40|Landscape: Phocion | " |"|G. Sir G. |1826| | | | | | | Beaumont | | | | 41|Death of Peter |Asc. to |"|B. Rev. W. H. |1831| | | | Martyr | Cariani | | Carr | | | | 42|Bacchanalian Scene |N. Poussin |"|P. Angerstein |1824| A | | 43|Deposition |Rembrandt |"|G. Sir G. |1826| | | | | | | Beaumont | | | | 44|Bleaching Ground |J. Ruysdael |"|B. Ld. |1847| | | | | | | Farnborough | | | |[266]44|Charity |Giulio Romano |K|B. Rev. W. H. |1831| | | | | | | Carr | | | | 45|Woman taken in |Rembrandt |G|P. Angerstein |1824| A | | | Adultery | | | | | | | 46|Blessings of Peace |Rubens |"|G. Lord |1828| | | | | | | Stafford | | | | 47|Adoration of the |Rembrandt |"|P. Angerstein |1824| A | | | Shepherds | | | | | | | 48|Tobias & the Angel |Domenichino |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 49|Portrait of Rubens |Van Dyck |"|P. Angerstein |1824| A | | 50|St. Ambrose and | " |"|P. " | " | | | | Theodosius | | | | | | | 51|Jew Merchant |Rembrandt |"|G. Sir G. |1826| | | | | | | Beaumont | | | | 52|Portrait of |Van Dyck |"|P. Angerstein |1824| A | | | Gevartius | | | | | | | 53|Evening Landscape |A. Cuyp |"|P. " | " | " | | 54|Woman Bathing |Rembrandt |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 55|Death of Procris |Claude |"|G. Sir G. |1826| | | | | | | Beaumont | | | | 56|Landscape |An. Carracci |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 57|St. Bavon |Rubens |"|B. " | " | | | 58|Study of Trees |Claude |"|G. Sir G. |1826| | | | | | | Beaumont | | | | 59|The Brazen Serpent |Rubens |"|P. Bulkeley |1837| (3) | | | | | | Owen | | | | 60|Tower of Babel |Leandro |D|B. Col. Ollney| " | | | | | Bassano | | | | | | 61|Landscape |Claude |G|G. Sir G. |1826| | | | | | | Beaumont | | | | 62|Bacchanalian Dance |N. Poussin |"|P. Hamlet | " | (1) | | 63|Landscape |An. Carracci |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 64|Return of the Ark |S. Bourdon |"|G. Sir G. |1826| | | | | | | Beaumont | | | | 65|Cephalus and Aurora |N. Poussin |"|B. G. J. |1831| | | | | | | Cholmondeley| | | | 66|Landscape |Rubens |"|G. Sir G. |1826| | | | | | | Beaumont | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 67|Holy Family |Rubens |G|P. Angerstein |1824| A | | 68|View near Albano |G. Poussin |"|B.}Rev. W. H. |1831| | | 69|St. John Preaching |P. F. Mola |"|B.} Carr | " | | | 70|Cornelia & her |Padovanino |"|B. Col. Ollney|1837| | | | jewels | | | | | | | 71|Muleteers |J. Both |"|G. Sir G. |1826| | | | | | | Beaumont | | | | 72|Tobias & the Angel |Rembrandt |"|B.}Rev. W. H. |1831| | | 73|Conversion of St. |Asc. to Ercole|"|B.} Carr |1831| | | | Paul |di Giulio Grandi| | | | | | 74|Spanish Boy |Murillo |"|G. M. Zachary |1826| | | 75|St. George & Dragon |Domenichino |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 76|Christ's Agony |Aft. Correggio|"|P. Angerstein |1824| A | | 77|Stoning of Stephen |Domenichino |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 78|Landscape |Berchem |B|B. R. Frankum |1861| | | 81|St. Augustine |Garofalo |G|B. Rev. W. H. |1831| | | 82|Holy Family |Mazzolino |"|B. Carr | " | | | 83|Phineus |N. Poussin |D|G. Gen. |1837| | | | | | | Thornton | | | | 84|Mercury & Woodman |Salvator Rosa |G|P. George Byng| " | £1,680 | | 85|St. Jerome |Domenichino |"|B. Rev. W. H. |1831| | | | | | | Carr | | | | 86|The Entombment |L. Carracci |"|B. Col. Ollney|1837| | | 87|Perseus |Guido |D|G. William IV.|1836| | | 88|Erminia |An. Carracci |G|P. Angerstein |1824| A | | 89|Portraits |Sustermans |D|P. " | " | " | | 90|Venus and Graces |Guido |E|G. William IV.|1836| | | 91|Sleeping Venus |N. Poussin |G|B. Rev. W. H. |1831| | | | | | | Carr | | | | 92|Cupid and Psyche |Aless. Veronese |K|B. Col. Ollney|1837| | | 93|Silenus |An. Carracci |G|B. Rev. W. H. |1831| | | | | | | Carr | | | | 94|Bacchus and Silenus | " |"|P. Angerstein |1824| A | | 95|Dido and Æneas |G. Poussin |"|B.}Rev. W. H. |1831| | | 96|Ecce Homo! |Copy of S. |K| } Carr | " | | | | | Correggio | | | | | | 97|Rape of Europa |P. Veronese |G|B. " | " | | | 98|La Riccia |G. Poussin |"|B. " | " | | | 101|Infancy |Lancret |"|B. Col. Ollney|1837| | | 102|Youth | " |"|B. " | " | | | 103|Manhood | " |"|B. " | " | | | 104|Age | " |"|B. " | " | | | 125|Izaak Walton |Huysman |P|B. Rev. Dr. |1838| | | | | | | Hawes | | | | 127|View in Venice |Canaletto |G|G. Sir G. |1826| | | | | | | Beaumont | | | | 134|Landscape |Decker |X|B. Col. Ollney|1837| | | 135|Landscape with Ruins|Canaletto |G|G. " | " | | | 137|Landscape |Jan van Goyen |"|B. " | " | | | 138|Ancient Ruins |Panini |"|B. " | " | | | 140|Portrait of a Lady|Van der Helst |R|B. " | " | | | 141|Palace of Dido |Steenwyck |D|B. " | " | | | 145|Portrait of a Man |Asc. to Helst |E|B. " | " | | | 146|View on the Maas |Abraham Storck |G|B. " | " | | | 147|Cephalus and Aurora |Ag. Carracci |"|G.}Ld. | " | | | 148|Galatea | " |"|G.} Ellesmere| " | | | 149|A Calm |W. van de Velde |"|B.}Ld. |1838| | | 150|A Gale | " |"|B.}Farnborough| " | | | 151|River Scene |Jan van Goyen |"|B. Mrs. Hodges|1852| | | 151|Leda[267] |P. F. Mola |"|B.}Ld. |1838| | | 152|Evening Landscape |A. van der Neer |"|B.}Farnborough| " | | | 153|The Little Nurse |Maes |"|B. " | " | | | 154|A Music Party |D. Teniers (jr.)|"|B. " | " | | | 155|Money-changers | " |"|B. " | " | | | 156|Study of Horses |Van Dyck |"|B. " | " | | | 157|Landscape |Rubens |"|B. " | " | | | 158|Boors Regaling |D. Teniers (jr.)|"|B. " | " | | | 159|Dutch Housewife |Maes |"|B. " | " | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 160|A "Riposo" |P. F. Mola |G|B.}Ld. |1838| | | 161|Landscape |G. Poussin |"|B.}Farnborough| " | | | 163|View in Venice |Canaletto |"|B. " | " | | | 164|Holy Family |Jordaens |D|G.}D. of. | " | | | 165|Plague at Ashdod |N. Poussin |G|G.} Northumbd| " | | | 166|Capuchin Friar |Rembrandt |"|G. " | " | | | 167|Adoration of Magi |B. Peruzzi |"|G. Lord Vernon|1839| | | 168|St. Catherine |Raphael |"|P. Beckford | " |} | | 169|Holy Family |Mazzolino |"|P. " | " |} £7,350 | | 170| " |Garofalo |"|P. " | " |} | | 172|Supper at Emmaus |Caravaggio |"|G. Lord Vernon| " | | | 173|Male Portrait |Il Bassano |"|G. H. G. | " | | | 174|A Cardinal |C. Maratti |"|G. Knight | " | | | 175|John Milton |Van der Plaas |P|G. C. Lofft | " | | | 176|St. John & the Lamb |Murillo |G|P.}Sir S. |1840| 2,100 | | 177|The Magdalen |Guido Reni |"|P.} Clark | " | 430 10 | | 179|Virgin and Child |Francia |"|P. Duke of |1841|} 3,500 | | 180|A Pietà | " |"|P. Lucca" | " |} | | 181|Virgin and Child |Perugino |"|P. Beckford | " | 800 | | 184|A Young Lady |N. Lucidel |"|P. Col. |1858| 200 | | Baillie | | Sir C. L. (then Mr.) Eastlake was appointed Keeper in 1843. | | | | 186|Portraits of Jan |Jan van Eyck |G|P. General Hay|1842| 630 | | |Arnolfini & Wife | | | | | | | 187|Apotheosis of |Rubens |"|P. Lord Eldin |1843| 200 | | |William the Taciturn| | | | | | | 189|The Doge Loredano |Gio. Bellini |"|P. Beckford |1844| 630 | | 190|A Jewish Rabbi |Rembrandt |"|P. J. Harman | " | 473 11 | | 191|Christ and St. John |Guido Reni |"|P. " | " | 409 10 | | 192|His own Portrait |Gerard Dou |"|P. " | " | 131 5 | | 193|Lot & his Daughters |Guido Reni |"|P. Penrice | " | 1,680 | | 194|Judgment of Paris |Rubens |"|P. " | " | 4,200 | | 195|A Medical Professor |German School |"|P. Rochard |1845| 630 | | 196|Susannah & Elders |Guido Reni |"|P. Penrice | " | 1,260 | | 197|Wild Boar Hunt |Velazquez |"|P. Lord Cowley|1846| 2,200 | | 198|St. Anthony |An. Carracci |"|P. Ld. | " | 787 10 | | | | | | Dartmouth| | | | 199|Lesbia |Schalcken |"|B. R. Simmons | " | | | 200|Madonna |Sassoferrato |"|B. " | " | | | 201|Seaport |C. J. Vernet |D|B. " | " | | | 202|Domestic Poultry |Hondecoeter |G|B. " | " | | | 203|Conventual Charity|Van Harp |C|B. " | " | | | 204|Dutch Shipping |Bakhuizen |"|B. " | " | | | 205|Itinerant Musicians |Dietrich |G|B. " | " | | | 206|Head of a Girl |Greuze |"|B. " | " | | | 207|The Idle Servant |Maes |"|B. " | " | | | 208|Landscape |Breenberg |R|B. " | " | | | 209|Judgment of Paris |Both & |G|B. " | " | | | | | Poelenburgh | | | | | | 210|View in Venice |Guardi |"|B. " | " | | | 211|A Battle |Huchtenburg |"|B. " | " | | | 212|Merchant and Clerk |De Keyser |"|B. " | " | | | | | Mr. Thomas Uwins, R.A., was appointed Keeper in 1847. | | | | 213|Vision of a Knight |Raphael |G|P. Rev. T. |1847| 1,050 | | | | | | Egerton | | | | 214|Coronation of Virgin|Guido Reni |"|B. W. Wells | " | | | 215|Saints |{ Lorenzo |"|G. W. |1848| | | 216| " |{ Monaco |"|G. Coningham| " | | | 218|Adoration of Magi |B. Peruzzi |"|G. E. |1849| | | | | | | Higginson| | | | 219|Dead Christ |Lombard School|"|G. Sir W. C. | " | | | | | | | Trevelyan| | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |[268]|Landscape with |G. Poussin |G|G. Philip |1849| | | | Figures | | | Pusey | | | |[268]| " | " |"|G. " | " | | | 221|His own Portrait |Rembrandt |"|P. Visct. |1851| £430 10 | | 222|A Man's Portrait |Jan van Eyck |"|P. Midleton | " | 365 | | 223|A Gale |Bakhuizen |"|B. C. L. | " | | | | | | | Bredel | | | | 224|The Tribute Money |Sch. of Titian|"|P. Marshal |1852| 2,604 | | | | | | Soult | | | | 225|Vision of the |Giulio Romano |"|G. Ld. | " | | | | Magdalen | | | Overstone | | | | 226|Virgin and Child |Sch. of |"|P. J. H. Brown|1855| 331 13 | | | | Botticelli | | | | | | 227|S. Jerome |Botticini |"|P. Conte | " | 114 17 | | | | | | Ricasoli| | | | 228|Christ and the |Il Bassano |"|G. P. L. Hinds|1853| | | | Money-changers | | | | | | | 230|A Franciscan Monk |Zurbaran |"|P. King Louis | " | 265 | | 232|Adoration of the | " |"|P. Philippe| " | 2,050 | | | Shepherds | | | | | | | 234|Warrior adoring |Catena |"|P. S. Woodburn| " | 525 | | | Infant Christ | | | | | | | 235|Dead Christ |Spagnoletto |"|G. D. Barclay | " | | | 236|Castle of St. Angelo|C. J. Vernet |"|G. Lady | " | | | | | | | Simpkinson| | | | 237|A Woman's Portrait |Rembrandt |"|B. Lord |1854| | | 238|Dead Game |Jan Weenix, jr. |"|B. Colborne| " | | | 239|Moonlight Scene |A. van der Neer |"|B. " | " | | | 240|Crossing the Ford |Berchem |"|B. " | " | | | 242|Game of Backgammon |D. Teniers (jr.)|"|B. " | " | | | 243|An Old Man |Rembrandt |"|B. " | " | | | 244|Shepherd with Lamb |Spagnoletto |"|B. " | " | | | 245|A Senator |Hans Baldung |"|P. M. de | " | 145 7 | | 246|Madonna and Child |Pacchia |"|P. Bammeville| " | 92 8 | | 247|"Ecce Homo!" |M. di Giovanni |"|P. " | " | 55 13 | | 248|Vision of S. Bernard|Filippo Lippi |"|P. " | " | 400 | | 249|Marriage of S. |Lorenzo di S. |"|P. " | " | 393 15 | | | Catherine of Siena | Severino | | | | | | 250|Four Saints |Meister v. |"|P. Herr Krüger| " | (4) | | 251| " | Werden |"|P. Minden | " | " | | 252|Conversion of S. | " |"|P. " | " | " | | | Hubert | | | | | | | 253|Mass of S. Hubert | " |"|P. " | " | " | | 254|Three Saints |Meister v. |"|P. " | " | " | | 255| " | Liesborn |"|P. " | " | " | | 256|The Annunciation | " |"|P. " | " | " | | 257|The Purification | " |"|P. " | " | " | | 258|Adoration of Magi | " |"|P. " | " | " | | 259|Christ on the Cross | " |"|P. " | " | " | | 260|Three Saints | " |"|P. " | " | " | | 261| " | " |"|P. " | " | " | | 262|The Crucifixion |Sch. of " |"|P. " | " | " | | 263|Coronation of the |The younger " |D|P. " | " | " | | | Virgin | | | | | | | 264|Penitent and Saint |Flemish School|G|P. " | " | " | | 265|Virgin and Child | " |"|P. " | " | " | | 266|The Deposition from |Lambert Lombard |"|P. " | " | " | | | the Cross | | | | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | | | Sir C. L. Eastlake, P.R.A., was appointed Director in 1855. | | | | 268|Adoration of Magi |P. Veronese |G|P. Sig. |1855| £1,977 | | | | | | Toffoli | | | | 269|A Knight in Armour |Giorgione |"|B. Samuel | " | | | 270|"Noli me Tangere" |Titian |"|B. Rogers | " | | | 271|"Ecce Homo!" |Guido Reni |"|B. " | " | | | 272|An Apostle |Italian School|"|G. Cav. | " | | | | | | | Vallati | | | | 274|Virgin and Child |A. Mantegna |"|P. Sig. | " | 1,125 12 | | | | | | Roverselli| | | | 275|Virgin and Child |Botticelli |"|P. G. Bianconi| " | 159 11 6| | 276|Sts. John & Paul |Spinello Aretino|"|P. Samuel |1856| 78 15 | | 277|The Good Samaritan |Il Bassano |"|P. Rogers | " | 241 10 | | 278|Triumph of Cæsar |Rubens |"|P. " | " | 1,102 10 | | 279|Horrors of War | " |"|P. " | " | 210 | | 280|Madonna and Child |Gio. Bellini |"|P. Baron |1855| (5) | | | | | | Galvagna | | | | 281|St. Jerome Reading |Basaiti |"|P. M. | " | 43 13 1| | | | | | Marcovich | | | | 282|Glorification of the|Bertucci |"|P. Lord Orford|1856| 651 | | | Virgin | | | | | | | 283|Virgin and Child |Benozzo Gozzoli |"|P. Casa |1855| 137 16 8| | | | | | Rinuccini| | | | 284|Madonna and Child |B. Vivarini |"|P. Conte degl'| " | 97 | | | | | | Algarotti| | | | 285| " |F. Morone |"|P. Baron | " | (5) | | 286| " |Tacconi |"|P. Galvagna | " | " | | 287|Lodovico Martinengo |Bart. Veneziano |"|P. Conte G. | " | 48 10 | | | | | | Pisani | | | | 288|Virgin and Child |Perugino |"|P. Duke Melzi |1856| 3,571 8 7| | 289|The Night Watch |Gerrit Lundens |"|B. Rev. T. |1857| | | | | | | Halford | | | | 290|A Man's Portrait |Jan van Eyck |"|P. H. Carl | " | 189 11 | | | | | | Ross | | | | 291|Portrait of a Girl |Lucas Cranach |"|P. Lord | " | 50 8 | | | | | | Shrewsbury| | | | 292|St. Sebastian |Pollajuolo |"|P. Marchese | " | 3,155 4 6| | | | | | Pucci | | | | 293|Virgin and Child |Filippino Lippi |"|P. Cav. Gius. | " | 627 8 | | | | | | Rucellai| | | | 294|Family of Darius |P. Veronese |"|P. Conte V. | " |13,650 | | | | | | Pisani | | | | 295|Christ and Virgin |Quentin Metsys |"|P. King of | " | 137 12 9| | | | | | Holland | | | | 296|Virgin Adoring |Verrocchio |"|P. Sig. | " | 455 16 8| | | | | | Contugi | | | | 297|The Nativity |Il Romanino |"|P. Conte | " | 804 | | | | | | Avveroldi| | | | 298|The two S. |Borgognone |"|P. Sig. Taddeo| " | 430 | | | Catherines | | | | | | | 299|An Italian Nobleman |Il Moretto |"|P. Henfry |1858| 360 | | 300|Madonna and Child |Cima da |"|P. M. Roussele| " | 339 6 5| | | | Conegliano | | | | | | 564|Virgin and Child |Margaritone |"|P. Lombardi- |1857| (6) | | 565|Madonna and Child |Cimabue |"|P. Baldi Gal.| " | " | | 566| " |Duccio |"|P. " | " | " | | 567|Christ on the Cross |Segna di |"|P. " | " | " | | | | Buonaventura | | | | | | 568|Coronation of the |Sch. of Gaddi |"|P. " | " | " | | | Virgin | | | | | | | 569| " |Orcagna |"|P. " | " | " | | 570|The Trinity | " |"|P. " | " | " | | 571|Angels Adoring | " |"|P. " | " | " | | 572| " | " |"|P. " | " | " | | 573|The Nativity | " |"|P. " | " | " | | 574|Adoration of Magi | " |"|P. " | " | " | | 575|The Resurrection | " |"|P. " | " | " | | 576|The Three Maries | " |"|P. " | " | " | | 577|The Ascension | " |"|P. " | " | " | | 578|The Holy Spirit | " |"|P. " | " | " | | 579|The Baptism of |Niccolo di |"|P. " | " | " | | | Christ | Pietro Gerini| | " | | | |579A| " |G. da Milano |"|P. " | " | " | | 580|Assumption of St. |Jacopo Landini |"|P. " | " | " | | | John | | | | | | |580A| " | " |"|P. " | " | " | | & B| | | | | | | | 581|Saints |Orcagna |"|P. " | " | " | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 582|Adoration of Magi |Fra Angelico |G|P. Lombardi- |1857| (6) | | 583|Battle of Sant' |Paolo Uccello |"|P. Baldi Gal.| " | " | | | Egidio | | | | | | | 584|Various Saints |Sch. of A. |E|P. " | " | " | | | | del Castagno | | | | | | 585|Portrait of a Lady |Sch. of Pollaiulo|G|P. " | " | " | | 586|Madonna and Child |Macchiavelli |G|P. " | " | " | | 587|Saints |Sch. of Lippi |E|P. " | " | " | | 588|St. Mark and | " |D|P. " | " | " | | | St. Augustine | | | | | | | 589|Virgin and Child |Filippo Lippi |G|P. " | " | " | | 590|Christ in the Tomb |Marco Zoppo |"|P. " | " | " | | 591|Rape of Helen |Sch. of Gozzoli|"|P. " | " | " | | 592|Adoration of Magi |Botticelli |"|P. " | " | " | | 593|Virgin and Child |Lorenzo di Credi|"|P. " | " | " | | 594|St. Cosmo and St. |Emmanuel |"|P. " | " | " | | | Damian | | | | | | | 595|Portrait of a Lady |Venetian School|"|P. Sig. |1858| £214 18 | | | | | | Menchetti| | | | 596|The Entombment |Palmezzano |"|P. Sig. | " | 537 4 7| | | | | | Gismondi| | | | 597|St. Vincentius |F. Cossa |"|P. Marchese G.| " |} | | | | Ferrer | | Costabili | |} 202 16 10| | 598|St. Francis |Filippino Lippi |"|P. " | " |} | | 599|Madonna of Meadow |Basaiti |"|P. Sig. A. |1858| 641 9 4| | | | | | Farina | | | | 600|The Blind Beggar |Dyckmans |"|B. Miss Jane |1859| | | | | | | Clarke | | | | 602|A Pietà |Crivelli |"|P. Cav. | " | 303 | | | | | | Vallati | | | | 621|Horse Fair |Rosa Bonheur |"|B. Jacob Bell | " | | | 622|(See note below)[269]| | | | | | | 623|Madonna and Child |Girolamo da |"|P. Ld. | " | 472 10 | | | | Treviso | | Northwick| | | | 624|Infancy of Jupiter |Giulio Romano |"|P. " | " | 920 | | 625|An Altar-Piece |Il Moretto |"|P. " | " | 577 10 | | 626|Portrait of a Man |Botticelli |"|P. " | " | 108 3 | | 627|Waterfall |J. Ruysdael |"|P. Count | " | 1,187 15 6| | 628| " | " |"|P. Stolberg| " | 1,069 15 3| | 629|Madonna and Child |Lorenzo Costa |"|P. M. Reiset | " | 880 | | 630| " |G. Schiavone |"|P. Beaucousin |1860| (7) | | 631|Portrait of a Lady |Asc. to Bissolo|"|P. " Coll.| " | " | | 632|A Saint |Girolamo da |"|P. " | " | " | | 633| " | Santa Croce|"|P. " | " | " | | 634|Madonna of Goldfinch|Cima da |"|P. " | " | " | | | | Conegliano | | | | | | 635|The "Repose" |Titian |"|P. " | " | " | | 636|Portrait of a Poet |Palma Vecchio |"|P. " | " | " | | 637|Daphnis and Chloe |Paris Bordone |"|P. " | " | " | | 638|Virgin and Child |Francia |"|P. " | " | " | | 639|"Noli me tangere" |F. Mantegna |"|P. " | " | " | | 640|Adoration of Magi |Dosso Dossi |"|P. " | " | " | | 641|The Woman taken |Mazzolino |"|P. " | " | " | | | in Adultery | | | | | | | 642|Christ's Agony |Garofalo |"|P. " | " | " | | 643|The Capture of |}Asc. to |"|P. " | " | " | | | Carthagena |} Rinaldo | | | | | | 644|The Rape of the |} Mantovano |"|P. " | " | " | | | Sabines |} | | | | | | 645|Virgin and Child |Albertinelli |"|P. " | " | " | | 646|St. Catherine |Umbrian School|"|P. " | " | " | | 647|St. Ursula | " |"|P. " | " | " | | 648|Virgin and Child |Lorenzo di Credi|"|P. " | " | " | | 649|Portrait of a Boy |An. Bronzino |"|P. " | " | " | | 650|Portrait of a Lady |Alessandro Allori|"|P. " | " | " | | 651|All is Vanity |An. Bronzino |"|P. " | " | " | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 652|Charity |Salviati |G|P. Beaucousin |1860| (7) | | 653|Husband and Wife |Flemish School|"|P. " Coll. | " | " | | 654|The Magdalen |Sch. of R. |"|P. " | " | " | | | | Campin | | | | | | 655| " |A. Benson |"|P. " | " | " | | 656|A Man's Portrait |Mabuse |"|P. " | " | " | | 657|Husband and Wife |J. Cornelissen |"|P. " | " | " | | 658|The Death of the |Sch. of R. |"|P. " | " | " | | | Virgin | Campin | | | | | | 659|Pan and Syrinx |Brueghel |"|P. " | " | " | | 660|A Man's Portrait |Asc. to Clouet|"|P. " | " | " | | 661|A Tracing of the |After Raphael |"|G. Colnaghi | " | | | | "Madonna di San | | | and Co.| | | | | Sisto" | | | | | | | 663|The Resurrection |Fra Angelico |"|P. Sig. G. | " |£3,500 | | | | | | Valentini | | | | 664|Entombment of |D. Bouts |"|P. Guicciardi | " | 120 14 6| | | Christ | | | Family | | | | 665|Baptism of Christ |P. della |"|P. Sig. |1861| 241 10 | | | | Francesca | | Uzielli | | | | 666|The Annunciation |Filippo Lippi |"|G. Sir C. L. | " | | | | | | | Eastlake | | | | 667|St. John the Baptist| " |"|P. A. Barker | " |} | | | and Saints | | | | |} | | 668|The Beato Ferretti |Crivelli |"|P. " | " |}2,500 | | 669|St. Sebastian, St. |L'Ortolano |"|P. " | " |} | | | Roch, and St. Demetrius| | | | |} | | 670|A Knight |Bronzino Sch. |"|G. G. F. | " | | | | | | | Watts, R.A.| | | | 671|Madonna and Child |Garofalo |"|P. Conte A. |1860| 763 16 | | | | | | Mazza | | | | 672|His own Portrait |Rembrandt |"|P. MM. de |1861| 800 | | | | | | Richemont| | | | 673|"Salvator Mundi" |A. da Messina |"|P. Cav. Isola | " | 160 | | 674|Portrait of a Lady |Paris Bordone |"|P. Duca di | " | 257 13 1| | | | | | Cardinale| | | | 679|An Astronomer |F. Bol |"|G. Miss E. A. |1862| | | | | | | Benett | | | | 680|The Miraculous |Van Dyck |"|P. Cav. |1861| 220 | | | Draught of Fishes| | | Carelli | | | | 685|Showery Weather |Hobbema |"|P. G. H. |1862| 1,575 | | | | | | Phillips| | | | 686|Madonna and Child |Memlinc |"|P. J. P. Weyer| " | 759 | | 687|The Sancta Veronica |Cologne School|"|P. " | " | 165 | | 690|His own Portrait |Andrea del |"|P. Sig. N. | " | 270 2 | | | | Sarto | | Puccini| | | | 691|"Ecce Homo!" |Asc. to Spagna|"|G. Sir W. | " | | | 692|St. Hugo of Grenoble|Ludovico da |"|B. Moore | " | | | | | Parma | | | | | | 693|St. Catherine |Pinturicchio |"|B. " | " | | | 694|St. Jerome in Study |Catena |"|P. Manfrini | " |} | | 695|Madonna and Child |Previtali |"|P. Gallery, | " |}1,047 16 2| | 696|Marco Barbarigo |Petrus Cristus |"|P. Venice | " |} | | 697|Portrait of a Tailor|Moroni |"|P. Sig. F. |1862| 320 | | | | | | Frizzoni | | | | | | | | de Salis| | | | 698|The Death of Procris|Piero di Cosimo |"|P. Sig. F. | " | 171 6 3| | | | | | Lombardi | | | | 699|Agostino and Niccolo|Lorenzo Lotto |"|P. Sig. G. | " | 320 | | | Della Torre | | | Morelli | | | | 700|The Holy Family |Lanini |"|P. G. H. |1863| 1,200 | | | | | | Phillips| | | | 701|Coronation of the |Justus of Padua |"|G. Queen | " | | | | Virgin | | | Victoria| | | | 702|Madonna and Child |Umbrian School|"|G. " | " | | | 703| " |Pinturicchio |"|G. " | " | | | 704|Portrait of Cosmo I.|Bronzino Sch. |"|G. " | " | | | 705|Three Saints |Asc. to |"|G. " | " | | | | | Stephan Lochner| | | | | | 706|The Presentation |Master of the |"|G. " | " | | | | | Lyversberg | | | | | | | | Passion | | | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 707|St. Peter and St. |Cologne School|G|G. Queen |1863| | | | Dorothy | | | Victoria | | | | 708|Madonna and Child |Flemish School|"|G. " | " | | | 709| " |Memlinc |"|G. " | " | | | 710|A Monk |Flemish School|"|G. " | " | | | 711|Mater Dolorosa |R. Weyden |"|G. " | " | | | 712|"Ecce Homo!" | " |"|G. " | " | | | 713|Madonna and Child |Jan Prevost |"|G. " | " | | | 714|Mother and Child |B. van Orley |"|G. " | " | | | 715|The Crucifixion |Quentin Metsys |"|G. " | " | | | 716|St. Christopher |J. Patinir |"|G. " | " | | | 717|St. John in Patmos | " |"|G. " | " | | | 718|The Crucifixion |Asc. to H. Bles|"|G. " | " | | | 719|The Magdalen | " |"|G. " | " | | | 720|A "Repose" |Schorel |"|G. " | " | | | 721|Portrait of a Lady | " |"|G. " | " | | | 722|Portrait of a Lady |German School |"|G. " | " | | | 723|(See note below)[270]| | | | | | | 724|Madonna della |Crivelli |"|P. Conte L. de|1862|£2,182 11 5| | | Rondine | | | Sanctis | | | | 726|Christ's Agony |Gio. Bellini |"|P. Rev. W. |1863| 630 | | 727|The Trinity |Pesellino |"|P. Davenport| " | 2,100 | | 728|Madonna and Child |Beltraffio |"|P. Bromley| " | 462 | | 729|Adoration of Kings |Foppa |"|P. " | " | 127 1 | | 732|Canal Scene |A. van der Neer |"|P. Lord |1864| 800 | | | | | | Shaftesbury| | | | 734|A Milanese Lawyer |Andrea Solario |"|P. Sig. G. |1863| 636 3 9| | | | | | Baslini | | | | 735|St. Roch and the |Paolo Morando |"|P. Dr. C. |1864|} | | | Angel | | | Bernasconi| |} 880 | | 736|A Venetian Senator |Bonsignori |"|P. " | " |} | | 737|Waterfall |J. Ruysdael |"|B. J. M. | " | | | 738|Incident in a |C. P. Tschaggeny|O|B. Oppenheim| " | | | | Battle | | | | | | | 739|The Annunciation |Crivelli |G|G. Lord | " | | | | | | | Taunton| " | | | 740|Madonna and Child |Sassoferrato |"|P. Sig. Jenne,| " | 380 | | | | | | Venice | | | | 741|A Dead Warrior |Asc. to |"|P. Pourtalès |1865| 1,549 4 6| | | | Velazquez | | Coll., | | | | 742|Portrait of a Lawyer|Moroni |"|P. Paris| " | 528 8 6| | 744|"Garvagh Madonna" |Raphael |"|P. Lord | " | 9,000 | | | | | | Garvagh| | | | 745|Philip IV. of Spain |Velazquez |"|P. M. Emm. | " |}1,200 | | 746|Landscape, with Ruin|Ruysdael |"|P. Sano | " |} | | 747|St. John and St. |Asc. to |"|P. " | " | 480 | | | Lawrence | Memlinc | | | | | | 748|Madonna and Child |Girolamo dai |"|P. The Conti |1864|} | | | with St. Anne | Libri | | Monga, | |}1,580 | | 749|The Giusti Family |N. Giolfino |"|P. Verona| " |} | | 750|The Doge |L. Bastiani |"|P. Conte A. |1865| 3,400 | | | Gio-Mocenigo | | | Mocenigo| | | | 751|Madonna and Child |Giovanni Santi |"|P. Sig. M. | " | 120 | | 752| " |Lippo Dalmasii |"|P. Gualandi| " | 400 | | 753|On the Road to |Altobello |"|P. Conte C. |1864| 320 | | | Emmaus | Melone | | Castelbarco,| | | | | | | | Milan | | | | | | Sir William (then Mr.) Boxall was appointed Director in 1866. | | | | 755|Rhetoric |Melozzo da Forli|G|P. W. Spence |1866|} 600 | | 756|Music | " |"|P. " | " |} | | 757|Christ blessing |Sch. of |"|P. Herr. | " | 7,000 | | | Little Children | Rembrandt | | Suermondt| | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 758|Countess Palma of |Piero della |G|P. Sig. Egidj |1866| £160 | | | Urbino | Francesca | | | | | | 766|Head of a Saint |Dom. Veneziano |"|P. Lady |1867| 27 10 | | | | | | Eastlake| | | | 767| " | " |"|P. " | " | 27 10 | | 768|St. Peter and St. |Antonio Vivarini|"|P. " | " | 40 | | | Jerome | | | | | | | 769|St. Michael and the |della Francesca |"|P. " | " | 50 | | | Dragon | | | | | | | 770|Leonello D'Este |Giovanni Oriolo |"|P. " | " | 25 | | 771|St. Jerome |Bono |"|P. " | " | 55 | | 772|Madonna and Child |Cosimo Tura |"|P. " | " | 160 | | 773|St. Jerome | " |"|P. " | " | 75 | | 774|Madonna and Child |D. Bouts |"|P. " | " | 225 | | 775|An Old Woman |Rembrandt |"|P. " | " | 1,200 | | 776|St. Anthony and St. |Vittore Pisano |"|G. " | " | | | | George | | | | | | | 777|Madonna and Child |Paolo Morando |"|P. Count | " | 900 | | | | | | L. Portalupi| | | | 778| " |Pellegrino da |"|P. Sig. | " | 112 | | | | San Daniele| | V. Azzola| | | | 779|Family Portraits |Borgognone |"|P. Sig. | " |} | | | | | | Baslini| |} 160 | | 780| " | " |"|P. " | " |} | | 781|Raphael and Tobias |Asc. to |"|P. Count | " |} 1,000 | | | | Botticini| | Galli Tassi| | | | 782|Madonna and Child |Botticelli Sch.|"|P. " | " |} | | 783|Exhumation of St. |Flemish School|"|P. Lady |1868| 1,500 | | | Hubert | | | Eastlake| | | | 788|An Altar-Piece |Crivelli |"|P. G. H. |1868| 3,360 | | | | | | Phillips| | | | 790|The Entombment |Michael Angelo |"|P. R. | " | 2,000 | | | | | | Macpherson| | | | 794|Dutch Courtyard |P. de Hooch |"|P. M. |1869| 1,722 | | | | | | Delessert| | | | 796|Vase of Flowers |J. van Huysum |"|P. C. J. | " | 900 | | | | | | Nieuwenhuys| | | | 797|A Man's Portrait |A. Cuyp |"|P. " | " | 900 | | 798|Cardinal Richelieu |P. de Champaigne|"|G. A.W. Franks| " | | | 802|Madonna of the |B. Montagna |"|P. Sig. G. |1869| 180 18 | | | Cherry | | | Baslini| | | | 803|The Circumcision |Marco Marziale |"|P. | " | 1,005 | | 804|Madonna and Child | " |"|P. | " | 502 10 | | 805|Peeling Pears |D. Teniers (jr.)|"|P. G. H. |1870| 600 | | | | | | Phillips| | | | 806|The Procession to |B. Boccaccino |"|P. Sig. G. | " | 300 | | | Calvary | | | Baslini| | | | 807|Madonna and Child |Crivelli |"|G. Marchioness| " | | | | | | |of Westminster| " | | | 808|St. Peter Martyr |Gentile Bellini |"|P. Sig. G. | " | 280 | | | | | | Baslini| | | | 809|The Holy Family |Michael Angelo |"|P. Ld. Taunton| " | 2,000 | | 810|Pardon Day in |C. Poussin |"|G. R. E. Lofft| " | | | | Brittany | | | | | | | 811|Tobias and the |Salvator Rosa |"|G. Wynn Ellis | " | | | | Angel | | | | | | | 812|Death of P. Martyr |Gio. Bellini |"|G. Lady | " | | | | | | | Eastlake| | | | 814|A Calm |P. J. Clays |N|B. J. M. | " | | | | | | | Parsons| | | | 815|Flushing | " |G|B. " | " | | | 816|The Incredulity of |Cima da |"|P. Hospital of|1871| 1,800 | | | St. Thomas | Conegliano| | St. Francesco| | | | 817|The Château of |D. Teniers (jr) |"|P. C. J. | " | 1,000 | | | Teniers at Perck| | | Nieuwenhuys| | | | 818|Coast Scene |Bakhuizen |"|P. Sir Robert | " | (3) | | | | | | Peel| | | | 819|Mouth of the Thames | " |"|P. " | " | " | | 820|Landscape with Ruin |Berchem |"|P. " | " | " | | 821|A Family Group |Gonzales Coques |"|P. " | " | " | | 822|Evening Landscape |A. Cuyp |"|P. " | " | " | | 823|On the Meuse | " |"|P. " | " | " | | 824|Ruined Castle | " |"|P. " | " | " | | 825|Poulterer's Shop |Gerard Dou |"|P. " | " | " | | 826|Landscape, Animals |K. du Jardin |"|P. " | " | " | | 827|The Ford | " |"|P. " | " | " | | 828|Landscape & Cattle | " |"|P. " | " | " | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 829|Stag Hunt |Jan Hackaert |G|P. Sir Robert |1871| (8) | | | | | | Peel | | | | 830|The Avenue |Hobbema |"|P. " | " | " | | 831|Brederode Castle | " |"|P. " | " | " | | 832|Water Mills | " |"|P. " | " | " | | 833|Forest Scene | " |"|P. " | " | " | | 834|Dutch Interior |P. de Hooch |"|P. " | " | " | | 835|Court of a House | " |"|P. " | " | " | | 836|View in Holland |P. de Koninck |"|P. " | " | " | | 837|Hay Harvest |J. Lingelbach |"|P. " | " | " | | 838|The Duet |G. Metsu |"|P. " | " | " | | 839|The Music Lesson | " |"|P. " | " | " | | 840|Lady feeding Parrot |Frans van Mieris|"|P. " | " | " | | 841|Fish & Poultry Shop |W. van Mieris |"|P. " | " | " | | 842|Garden Scene |F. Moucheron |"|P. " | " | " | | 843|Blowing Bubbles |G. Netscher |"|P. " | " | " | | 844|Maternal Instruction| " |"|P. " | " | " | | 845|Spinning Wheel | " |"|P. " | " | " | | 846|The Alchymist |A. van Ostade |"|P. " | " | " | | 847|Village Scene |I. van Ostade |"|P. " | " | " | | 848|Skating Scene | " |"|P. " | " | " | | 849|Landscape & Cattle |Paul Potter |"|P. " | " | " | | 850|Man's Portrait |Rembrandt |"|P. " | " | " | | 851|Venus Sleeping |Seb. Ricci |"|P. " | " | " | | 852|Chapeau de Poil |Rubens |"|P. " | " | " | | 853|Triumph of Silenus | " |"|P. " | " | " | | 853 A-P.|Studies |Rubens |"|P. " | " | " | | 854|Forest Scene |J. Ruysdael |"|P. " | " | " | | 855|Waterfall | " |"|P. " | " | " | | 856|The Music Master |Jan Steen |"|P. " | " | " | | 857|The Four Seasons |D. Teniers (jr.)|"|P. " | " | " | | 858| " | " |"|P. " | " | " | | 859| " | " |"|P. " | " | " | | 860| " | " |"|P. " | " | " | | 861|Country Scene | " |"|P. " | " | " | | 862|The Surprise | " |"|P. " | " | " | | 863|Rich Man in Hell | " |"|P. " | " | " | | 864|The Guitar Lesson |Terburg |"|P. " | " | " | | 865|Coast Scene |Van de Cappelle |"|P. " | " | " | | 866|Street in Cologne |Van der Heyden |"|P. " | " | " | | 867|Farm Cottage |A. van de Velde |"|P. " | " | " | | 868|The Ford | " |"|P. " | " | " | | 869|Frost Scene | " |"|P. " | " | " | | 870|Shipping in a Calm |W. van de Velde |"|P. " | " | " | | 871|Bathing | " |"|P. " | " | " | | 872|Shipping off | " |"|P. " | " | " | | | the Coast | | | | | | | 873| " | " |"|P. " | " | " | | 874|A Calm at Sea | " |"|P. " | " | " | | 875|A Light Breeze | " |"|P. " | " | " | | 876|A Gale | " |"|P. " | " | " | | 877|His own Portrait |Van Dyck |"|P. " | " | " | | 877 A, B.|Studies | " |"|P. " | " | " | | 878|"Pretty Milkmaid" |P. Wouwerman |"|P. " | " | " | | 879|Interior of a Stable| " |"|P. " | " | " | | 880|On the Sea Shore | " |"|P. " | " | " | | 881|Gathering Faggots | " |"|P. " | " | " | | 882|Landscape | " |"|P. " | " | " | | 883|Beggar by Roadside |Jan Wynants |"|P. " | " | " | | 884|Sand Dunes | " |"|P. " | " | " | | 895|Francesco Ferruccio |Piero di Cosimo |"|B. Sir A. | " | | | | | | | Sterling | | | | 896|The Peace of Münster|Terburg |"|G. Sir R. | " | | | | | | | Wallace | | | | 901|Landscape |Jan Looten |B|B. Mrs. J. H. |1873| | | | | | | Jewer | | | | 902|Triumph of Scipio |A. Mantegna |G|P. Captain | " | £1,500 | | | | | | Vivian | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | | | Sir Frederick W. (then Mr.) Burton was appointed Director in 1874. | | | | 903|Cardinal Fleury |H. Rigaud |G|G. Mrs. |1874| | | | | | | Charles Fox| | | | 904|Madonna and Child |G. Schiavone |"|P. A. Barker | " | £189 | | 905|Madonna in Prayer |Cosimo Tura |"|P. " | " | 84 10 | | 906|Madonna in Ecstasy |Crivelli |"|P. " | " | 577 10 | | 907|St. Catherine and | " |"|P. " | " | 210 | | | Mary Magdalene | | | | | | | 908|The Nativity |P. della |"|P. " | " | 2,415 | | | | Francesca | | | | | |[271]909|The Madonna of |Benvenuto da |"|P. " | " | 558 12 | | | the White Rose | Siena | | | | | | 910|The Triumph of |Luca Signorelli |"|P. " | " | 840 | | | Chastity | | | | | | | 911|Ulysses and Penelope|Pinturicchio |"|P. " | " | 2,152 10 | | 912|The Story of |Umbrian School|"|P. " | " | 210 | | | Griselda | | | | | | | 913| " | " |"|P. " | " | 241 | | 914| " | " |"|P. " | " | 273 | | 915|Mars and Venus |Botticelli |"|P. " | " | 1,050 | | 916|Venus with Cupids |J. del Sellaio |"|P. " | " | 1,627 10 | | 920|Orpheus |R. Savery |R|B. S. J. | " | | | | | | | Ainsley | | | | 923|A Venetian Senator |Andrea Solario |G|P. Sig. G. |1875| 1,880 | | | | | | Baslini | | | | 924|Gothic Interior |Pieter Neeffs |"|G. H. H. | " | | | | | | | Howorth | | | | 927|Angel Adoring |Filippino Lippi |"|B. Wynn Ellis |1876| | | 928|Apollo and Daphne |Asc. to |"|B. " | " | | | | | Pollajuolo | | | | | | 929|"Bridgewater |After Raphael |"|B. " | " | | | | Madonna" | | | | | | | 930|The Garden of Love |Sch. of |"|B. " | " | | | | | Giorgione | | | | | | 931|Magdalen and her |Italian School|"|B. " | " | | | | Jewels | | | | | | | 932|A Knight of Malta |Italian School|"|B. " | " | | | 933|Boy with Dove |Padovanino |"|B. " | " | " | | 934|Madonna and Child |Carlo Dolci |"|B. " | " | " | | 935|River Scene |Salvator Rosa |"|B. " | " | " | | 936|Farnese Theatre, |Ferd. Bibiena |"|B. " | " | " | | | Parma | | | | | | | 937|Scuola di San Rocco |Canaletto |"|B. " | " | " | | 938|Regatta on the Grand| " |"|B. " | " | " | | | Canal | | | | | | | 939|Venice: Piazzetta | " |"|B. " | " | " | | 940|The Ducal Palace | " |"|B. " | " | " | | 941|The Grimani Palace | " |"|B. " | " | " | | 942|Eton College | " |"|B. " | " | " | | 943|A Portrait |D. Bouts |"|B. " | " | " | | 944|Two Usurers |Marinus van |"|B. " | " | " | | | | Romerswael | | | | | | 945|St. Agnes |J. Patinir |"|B. " | " | " | | 946|A Man's Portrait |Mabuse |"|B. " | " | " | | 947| " |Flemish School|"|B. " | " | " | | 948|Landscape |Rubens |B|B. " | " | " | | 949|Landscape: Gipsies |D. Teniers |G|B. " | " | " | | | | (sen.) | | | | | | 950|Village Gossips | " |"|B. " | " | " | | 951|Playing at Bowls | " |"|B. " | " | " | | 952|A Village Fête |D. Teniers (jr.)|"|B. " | " | " | | 953|The Toper | " |"|B. " | " | " | | 954|A Landscape |Corn. Huysmans |"|B. " | " | " | | 955|Women Bathing |Poelenburgh |"|B. " | " | " | | 956|Italian Landscape |J. Both |"|B. " | " | " | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| | 957|Goatherds |J. Both |G|B. Wynn Ellis |1876| | | 958|Outside Rome | " |"|B. " | " | | | 959|River Scene | " |R|B. " | " | | | 960|Windmills |A. Cuyp |N|B. " | " | | | 961|The "Large Dort" | " |"|B. " | " | | | 962|The "Small Dort" | " |"|B. " | " | | | 963|Skating Scene |I. van Ostade |"|B. " | " | | | 964|River Scene |Van de Cappelle |"|B. " | " | | | 965|River Scene, with | " |"|B. " | " | | | | Barge | | | | | | | 966|Dutch Shipping | " |"|B. " | " | | | 967|River Scene | " |"|B. " | " | | | 968|His Wife's Portrait |Gerard Dou |"|B. " | " | | | 969|A Frost Scene |A. van der Neer |"|B. " | " | | | 970|The Drowsy Landlady |G. Metsu |"|B. " | " | | | 971|Landscape |Jan Wynants |"|B. " | " | | | 972| " | " |"|B. " | " | | | 973|Sandbank |P. Wouwerman |"|B. " | " | | | 974|Antwerp Cathedral |P. De Koninck |"|B. " | " | | | 975|Stag Hunt |P. Wouwerman |"|B. " | " | | | 976|Battle Scene | " |"|B. " | " | | | 977|Sea Piece |W. van de Velde |"|B. " | " | | | 978|River Scene | " |"|B. " | " | | | 979|A Stiff Breeze | " |"|B. " | " | | | 980|Dutch Shipping | " |"|B. " | " | | | 981|A Storm at Sea | " |"|B. " | " | | | 982|Forest Scene |A. van de Velde |"|B. " | " | | | 983|Bay Horse | " |"|B. " | " | | | 984|Cattle | " |"|B. " | " | | | 985|Sheep and Goats |K. du Jardin |"|B. " | " | | | 986|Watermills |J. Ruysdael |"|B. " | " | | | 987|Rocky Torrent | " |"|B. " | " | | | 988|An Old Oak | " |"|B. " | " | | | 989|Bleachers | " |"|B. " | " | | | 990|Wooded Prospect | " |"|B. " | " | | | 991|The Broken Tree | " |"|B. " | " | | | 992|Gothic and Classic |Van der Heyden |"|B. " | " | | | | Buildings | | | | | | | 993|Landscape | " |"|B. " | " | | | 994|Street in a Town | " |"|B. " | " | | | 995|Woody Landscape |Hobbema |"|B. " | " | | | 996|Castle on a Hill | " |G|B. " | " | | | 997|Scouring the Kettle |Schalcken |N|B. " | " | | | 998|The Duet | " |"|B. " | " | | | 999|Candle Light | " |"|B. " | " | | |1000|An Estuary |Bakhuizen |"|B. " | " | | |1001|Flower-Piece |J. Van Huysum |"|B. " | " | | |1002| " |Walscappelle |"|B. " | " | | |1003|Dead Birds |Jan Fyt |"|B. " | " | | |1004|Italian Landscape |Berchem |"|B. " | " | | |1005|Ploughing | " |"|B. " | " | | |1006|Hurdy-Gurdy | " |"|B. " | " | | |1007|Rocky Landscape |Jan Wils |"|B. " | " | | |1008|Stag Hunt |Pieter Potter |"|B. " | " | | |1009|An Old Gray Hunter |Paul Potter |"|B. " | " | | |1010|Architecture of the |Dirk van Delen |"|B. " | " | | | | Renaissance | | | | | | |1011|Portrait of a Lady |Gonzales Coques |"|B. " | " | | |1012|A Man's Portrait |Matt. Merian |"|B. " | " | | |1013|Geese and Ducks |Hondecoeter |"|B. " | " | | |1014|St. Lawrence |A. Elsheimer |"|B. " | " | | |1015|Fruit and Flowers |Jan van Os |"|B. " | " | | |1016|Portrait of a Girl |Sir P. Lely |"|B. " | " | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |1017|A Woody Landscape |J. Mompers |G|B. Wynn Ellis |1876| | |1018|Classical Landscape |Claude |"|B. " | " | | |1019|Head of a Girl |Greuze |"|B. " | " | | |1020|Girl with an Apple | " |"|B. " | " | | |1021|A Woman's Portrait |Frans Hals |"|P. F. A. Keogh| " |L. £105 | |1022|An Italian Nobleman |Moroni |"|P. Sig. G. | " | } | | | | | | Baslini | | } | |1023|An Italian Lady | " |"|P. " | " | } | |1024|An Italian | " |"|P. " | " | } 5,000 | | | Ecclesiastic | | | | | } | |1025|An Italian Nobleman |Il Moretto |"|P. " | " | } | |1031|Mary Magdalene |Savoldo |"|P. " |1877| 350 | |1032|Christ's Agony |Lo Spagna |"|P. Fuller |1878| 2,000 | | | | | | Maitland | | | |1033|Adoration of Magi |Botticelli |"|P. " | " | 800 | |1034|The Nativity | " |"|P. " | " | 1,500 | |1035|Portrait of a Man |Francia Bigio |"|P. " | " | 500 | |1036|A Man's Portrait |Flemish School|"|P. " | " |L. 350 | |1041|St. Helena |P. Veronese |"|P. Novar | " | 3,465 | | | | | | Collection | | | |1042|A Man's Portrait |C. Van Hemessen |"|P. J. C. | " |L. 60 | | | | | | Wallace | | | |1045|A Canon and his |Gerard David |"|B. W. B. White| " | | | | Patron Saints | | | | | | |1047|A Family Group |Lorenzo Lotto |"|B. The Misses |1879| | | | | | | Solly | | | |1048|Portrait of a | S. Pulzone |"|P. W. C. |1878| 225 | | | Cardinal | | | Spence | | | |1049|The Crucifixion |Westphalian |"|G. E. |1847| | | | | | | Shipperdson| | | |1050|A Sea-piece |Bakhuizen |S|B. The Misses |1879| | | | | | | Solly | | | |1051|Our Lord, St. |Bertucci |G|B. " | " | | | | Thomas, and St. | | | | | | | | Anthony | | | | | | |1052|Portrait of a Young |Lombard School|"|B. " | " | | | | Man | | | | | | |1053|Interior of a Church|De Witte |"|B. " | " | | |1054|View in Venice |Guardi |"|B. J. | " | | | | | | | Henderson | | | |1055|Village Card Party |Sorgh |"|B. " | " | | |1056|"A Kiss in the Cup | " " |"|B. " | " | | |1057|A River Scene |C. J. Vernet |B|B. " | " | | |1058|On the Canal Reggio,|Canaletto |G|B. " | " | | | | Venice | | | | | | |1059|San Pietro in | " |"|B. " | " | | | | Castello, Venice | | | | | | |1060|Two Vedettes |P. Wouwerman |"|B. " | " | | |1061|Explosion at Delft |Van der Poel |"|B. " | " | | |1062|A Battle-Piece |Ferrarese Sch.|"|P. W. B. White| " | 79 16 | |1063|A Man's Portrait |Flemish School|"|P. J. H. | " | 63 | | | | | | Anderdon | | | |1074|An Oyster Supper |Dirk Hals |"|P. E. C. Hill | " | 80 | |1075|The Virgin & Child |Perugino |"|P. Baron de la| " | 3,200 | | | | | | Penna | | | |1077|An Altar-Piece |Borgognone |"|P. Sig. G. | " | 1,200 | | | | | | Baslini | | | |1078|The Deposition |Asc. to G. |"|B. Mrs. J. H. |1880| | | | | David | | Green | | | |1079|The Adoration |Asc. to G. David|"|B. " | " | | |1080|The Head of St. |Flemish School|"|B. " | " | | | | John the Baptist | | | | | | |1081|Man Praying |Early Flemish |"|B. " | " | (1) | |1082|The Visit of the |J. Patinir |"|B. " | " | | | | Virgin to | | | | | | | | St. Elizabeth | | | | | | |1083|Christ crowned with |A. Bouts |"|B. " | " | | | | Thorns | | | | | | |1084|Flight into Egypt |J. Patinir |"|B. " | " | | |1085|Virgin and Child |Geertgen |"|B. " | " | | |1086|Christ appearing to |Sch. of R. |"|B. " | " | | | | the Virgin | Campin | | | | | |1087|Mocking of Christ |German School |"|B. " | " | | |1088|The Crucifixion |German School |"|B. " | " | | |1089|Virgin and Child |Early Flemish |"|B. " | " | | |1090|Pan and Syrinx |Boucher |"|G. Mrs. R. | " | | | | | | | Hollond | | | |1092|St. Sebastian |Zaganelli |"|P. Sig. F. | " | 60 | | | | | | Sacchi | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |1093|Vierge aux Rochers |L. da Vinci |G|P. Lord |1880| £9,000 | | | | | | Suffolk | | | |1094|Portrait of a Man |Asc. to Sir A.|"|G. British | " | | | | | More | | Museum | | | |1095|Anna Maria Schurmann|Jan Lievens |"|G. " | " | | |1096|A Hunting Scene |J. B. Weenix |"|G. " | " | | |1098|Virgin and Child |B. Montagna |"|P. Sig. G. |1881| 200 | | | | | | Baslini | | | |1099|Virgin and Child |A. R. Mengs |"|B. Miss | " | | | | | | | Kearsley | | | |1100|Scene in a Play |P. Longhi |"|P. Sig. G. | " | 50 | | | | | | Baslini | | | |1101|Menagerie | " |"| " | " | 50 | |1102|The Chevalier Andrea| " |"|P. Sig. M. | " | 300 | | | Tron | | | Guggenheim | | | |1103|Virgin and Child |F. de Lorenzo |"|P. Marchese | " | } | | | | | | Mona'di | | } 1,361 11| |1104|The Annunciation |Manni |"|P. " | " | } | |1105|The Prothonotary |Lotto |"|P. Sig. M. | " | 600 | | | Apostolic, Juliano| | | Guggenheim | | | |1106|The Resurrection |F. Mantegna |"|P. A. W. | " | 300 | | | | | | Thibaudeau | | | |1107|The Crucifixion |Niccolò da |"|P. Sig. A. | " | } | | | | Foligno | | Castellani | | } 1,200 | |1108|Virgin Enthroned |Early Sienese |"|P. " | " | } | |1109|Marriage of the |Buonaccorso |"|P. C. F. | " | 80 | | |Virgin | | | Murray | | | |1113|A Legendary Subject |P. Lorenzetti |"|G. C. Fairfax |1882| | | | | | | Murray | | | |1114|The Five Senses |Gonzales |"|P. De Bus di | " | } | | | (Sight) | Coques | | Gisignies, | " | } | | | | | | Brussels | | } | |1115| " (Hearing) | " |"|P. " | " | } | |1116| " (Feeling) | " |"|P. " | " | } £910 0 8 | |1117| " (Smell) | " |"|P. " | " | } | |1118| " (Taste) | " |"|P. " | " | } | |1119|The Virgin & Child |Ercole di Guilio|"|P. Marchese | " | 2,970 | | | with Saints | Grandi | | Strozzi | | | |1120|St. Jerome in the |Cima da |"|P. Duke of | " | 493 10| | | Desert | Conegliano | | Hamilton | | | |1121|Portrait of a Young |Catena |"|P. " | " | 525 | | | Man | | | | | | |1122|St. Jerome |D. Theotocopuli |"|P. " | " | 336 | |1123|Venus and Adonis |Sch. of |"|P. " | " | 1,417 10| | | | Giorgione | | | | | |1124|Adoration of Magi |Sch. Botticelli|"|P. " | " | 1,627 10| |1125|Summer & Autumn |A. Mantegna |"|P. " | " | 1,785 | |1126|The Assumption |Botticini |"|P. " | " | 4,777 10| |1127|The Last Supper |Ercole Grandi |"|P. " | " | 630 | |1128|The Circumcision |Luca Signorelli |"|P. " | " | 3,150 | |1129|Philip IV. of Spain |Velazquez |"|P. " | " | 6,300 | |1130|Christ washing his |Tintoretto |"|P. " | " |C. 157 10 | | | Disciples' Feet | | | | | | |1131|Joseph in Egypt |J. da Pontormo |"|P. " | " |C. 315 | |1132|A Vestibule |H. Steenwyck |"|P. " | " |C. 204 15 | |1133|The Nativity |Luca Signorelli |"|P. Italy | " |L. 1200 | |1134|Madonna and Child |Liberale |"|P. Chevalier | " | | | | | | | Fabris | | | |1135| }Trajan & the |Veronese School|"|P. " | " | 240 | |1136| }Widow | | | | | | |1137|Portrait of a Boy |Jacob van Oost |"|P. " | " |C. 840 | |1138|The Crucifixion |A. del Castagno |"|P. C. F. | " | 137 | | | | | | Murray | | | |1139|The Annunciation |Duccio |"|P. Florence | " | } | |1140|Christ healing the | " |"|P. " | " | } C. 178 | | | Blind | | | | | } | |1141|His own Portrait |A. da Messina |"|P. Genoa | " |L. 1040 | |1143|The Procession to |R. Ghirlandajo |"|P. Marchese |1883| 1,200 | | | Calvary | | | Antinori | | | |1144|Madonna and Child |Il Sodoma |"|P. C. F. | " | 160 | | | | | | Murray | | | |1145|Samson and Delilah |A. Mantegna |"|P. D. of | " | 2,362 10| | | | | | Marlborough | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |1147|Heads of Four Nuns |A. Lorenzetti. |G|P. Cav. P. |1883|L. £45 | | | | | | Lombardi | | | |1148|Christ at the Column|Velazquez |"|G. Sir J. | " | | | | | | | Savile Lumley| | | |1149|Madonna and Child |Marco d'Oggionno|"|P. Manfrini | " | 150 | | | | | | Gallery, | | | | | | | | Venice | | | |1150|Portrait of a Man |Asc. to Pontormo|"|P. C. F. | " | 50 | | | | | | Murray | | | |1151|The Entombment |German |"|P. Sig. G. | " | 80 | | | | | | Baslini | | | |1152|St. John the Baptist|Martino Piazza |"|P. Sig. P. | " | 240 | | | | | | Vergani | | | |1154|Girl with a Lamb |Greuze |"|B Mme. Mohl | " | | |1155|The Assumption |M. di Giovanni |"|P. Sig. | " | 2,100 | | | | | | Griccioli | | | |1157|The Nativity |Cavallino |"|G. W. |1884| | | | | | | Pilkington | | | |1159|Calling of Abraham |G. Poussin |"|P. Leigh Court| " | 1,995 | | | | | | Coll. | | | |1160|Adoration of Magi |Giorgione |"|P. " | " | 383 5 | |1165|St. Hippolytus & St.|Il Moretto |"|G. F. T. | " | | | | Catherine | | | Palgrave | | | |1166|The Crucifixion |A. da Messina |"|P. London | " |C. 350 | |1168|Portrait of a Jesuit|W. van der Vliet|"|P. W. Russell | " |C. 241 10 | |1169|Mrs. Robert Hollond |Ary Scheffer |"|B. R. Hollond | " | | |1170|St. Augustine and | " |"|B. " | " | | | | St. Monica | | | | | | |1171|"Ansidei Madonna" |Raphael |"|P. D. of |1885| 70,000 | | | | | | Marlborough | | | |1172|Charles the First |Van Dyck |"|P. " | " | 17,500 | |1173|Unknown Subject |Sch. of |"|P. Bohn | " |C. 135 | | | | Giorgione | | Collection | | | |1188|The Betrayal of |Ugolino da |"|P. Fuller | " | } | | | Christ | Siena | | Russell Coll.| | } C. 26 5| |1189|The Procession to | " |"|P. " | " | } | | | Calvary | | | | | | |1190|Portrait of a Boy |Asc. to Clouet|"|G. G. F. | " | | | | | | | Watts, R.A. | " | | |1192|Design for an |Tiepolo |"|P. Beckett- | " | }L.162 15| | | AltarPiece | | | Denison | | } | |1193| " | " |"|P. " | " | } | |1194|Christ driving out |M. Venusti |"|P. " | " |L. 966 | | | the Traders | | | | | | |1195|Birth of Venus |Rubens |"|P. " | " |C. 672 | |1196|Love and Chastity |Florentine |"|P. Genoa | " |L. 500 | |1199|Madonna and Child |Pier Francesco |"|P. Milan | " |W. 170 | |1200|Group of two Saints |Macrino d'Alba |"|P. " | " | } W. 400 | |1201| " | " |"|P. " | " | } | |1202|Madonna and Child |Bonifazio |"|P. " |1886|W. 720 | |1203| " |Cariani |"|P. " | " |W. 420 | |1206|Landscape & Figures |Salvator Rosa |"|B. Mrs. F. | " | | | | | | | Ricketts | | | |1211|Marriage Fête at |Domenico |"|P. Milan | " | } | | | Mantua | Morone | | | | } | |1212| " | " |"|P. " | " | } | |1213|Portrait of a |Gentile Bellini |"|P. " | " | } W. 1200| | | Professor | | | | | } | |1214|Coriolanus, |Michele da |"|P. " | " | } | | | Volumnia, and | Verona | | | | } | | | Veturia | | | | | } | |1215|Madonna and Child |Dom. Veneziano |"|G. Earl of | " | | | | | | | Crawford | | | |1216| } Fall of the Rebel|Spinello Aretino|"|G. Sir H. | " | | | " A| } Angels | | | Layard | | | | " B| } | | | | | | |1217|Isarelites gathering|Ercole Roberti |"|P. Earl of | " |C. 650 | | | Manna | | | Dudley | | | |1218|The History of |F. Ubertini |"|P. London | " | } | | | Joseph | | | | | } | |1219| " | " |"|P. " | " | }W. 3,150| |1220|Madonna and Child |L'Ingegno |"|P. " | " | } | |1221|"Darby and Joan" |A. de Pape |"|P. Blenheim | " | } W. 252| | | | | | Coll. | | | |1222|Study of Foliage, |Hondecoeter |"|G. J. | " | | | | etc. | | | Whitworth | | | | | | | | Shaw | | | |1227|Virgin and Child |M. Venusti |"|P. Messrs. |1887|L. 452 | | | | | | Agnew | | | |1229| " |Luis de Morales |"|G. Mr. G. F. | " | | | | | | | de Zoete | | | |1230|Portrait of a Girl |D. Ghirlandajo |"|P. Whatman | " |W. 236 5 | | | | | | Coll. | | | |1231|Portrait of a |Sir. A. More |"|P. " | " |W. 257 5 | | | Gentleman | | | | | | |1232| " |H. Aldegrever |"|P. Whatman | " |W. £63 10 | | | | | | Coll. | | | |1233|The Blood of the |Gio. Bellini |"|P. Fairfax | " |C. 472 10 | | | Redeemer | | | Murray | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |1234|A Muse inspiring a |Dosso Dossi |G|P. Fairfax |1887|C. 157 10 | | | Court Poet | | | Murray | | | |1239|Murder of the |G. Mocetto |"|P. Dr. J. P. |1888| } | | | Innocents | | | Richter | | } | |1240| " | " |"|P. " | " | } 600 | |1241|Christ in the Temple|P. Campaña |"|P. " | " | } | |1243|Portrait of a |Heimbach |"|P. M. Roberts | " | 50 | | | Gentleman | | | | | | |1247|The Card Players |Maes |"|P. Gatton Park| " |[272]1375 10| | | | | | Sale | | | |1248|Portrait of a Lady |Van der Helst |"|P. Col. | " |C. 189 | | | | | | Everett | | | |1251|A Man's Portrait |Frans Hals |"|B. Decimus | " | | | | | | | Burton | | | |1252|A Fruit-Piece |Francis Snyders |"|B. " | " | | |1255|Study of Still Life |Jan van de |"|G. Sir John | " | | | | | Velde | | Saville | | | |1256| " |Herman Steenwyck|"|G. " | " | | |1257|Birth of the Virgin |Murillo |"|G. " | " | | |1258|Study of Still Life |J. B. S. Chardin|"|G. " | " | | |1260|Portrait of a Woman |Greek; 2d-3d |"|G. H. Martyn- | " | | | | | cents. | | Kennard | | | |1261|Portrait of a Man | " |"|G. " | " | | |1262|Portrait of a Woman | " |"|G. " | " | | |1263| " | " |"|G. " | " | | |1264|Portrait of a Man | " |"|G. " | " | | |1265| " | " |"|G. Jesse | " | | | | | | | Haworth | | | |1266|Portrait of a Woman | " |"|G. " | " | | |1267| " | " |"|P. Flinders | " | } | | | | | | Petrie | | } | |1268|Portrait of a Man | " |"|P. " | " | } C. 95 | |1269|Portrait of a Woman | " |"|P. " | " | } | |1270| " | " |"|P. " | " | } | |1277|A Man's Portrait |Maes |"|G. Sir T. | " | | | | | | | Martin | | | |1278|A Convivial Party |H. G. Pot |"|P. Messrs Lake|1889|L. 200 | | | | | | & Co | | | |1280|Christ appearing |Flemish School|"|P. Prof. | " |W. 300 | | | | | | Attwell | | | |1282|San Zenobio |J. Chimenti |"|G. G. Salting | " | | |1284|St. Francis & St. |Antonio Vivarini|"|P. Dr. J. P. | " |C. 200 | | | Mark | | | Richter | | | |1285|Napoleon I. |Horace Vernet |"|G. Duke of | " | | | | | | | Leinster | | | |1286|Boy Drinking |Murillo |"|B. J. S. | " | | | | | | | Becket | | | |1287|An Art Gallery |Dutch School |"|B. " | " | | |1288|Frost Scene |A. van der Neer |"|B. " | " | | |1289|Landscape & Cattle |A. Cuyp |"|B. " | " | | |1291|Assumption of Virgin|Valdes Leal |"|P. London | " | 400 | |1292|A Family Group |Jan van Bylert |B|P. Deprez & | " |C. 50 | | | | | | Gutekunst | | | |1293|Musical Pastime |J. M. Molenaer |G|P. Messrs. | " |C. 126 | | | | | | Colnaghi | | | |1294|Allegorical Subject |W. van de |"|G. Humphry | " | | | | | Poorter | | Ward | | | |1295|Virgin and Child |G. Giovenone |"|P. Venice | " | 320 | |1296|Rural Landscape |G. Zais |"|P. " | " | 100 | |1297|River Scene | " |"|P. " | " | 100 | |1298|River Scene |J. Patinir |"|P. Florence | " | } 2,000 | |1299|Portrait of Youth |D. Ghirlandajo |"|P. " | " | } | |1300|Virgin and Child |Milanese School|"|P. Beaucousin |1860| (7) | | | | | | Coll. | | | |1301|Savonarola |Florentine |"|G. Dr. W. |1890| | | | | | | Radford | | | |1302|St. Bartin |Simon Marmion |"|P. Beaucousin |1860| (7) | | | | | | Coll. | | | |1303|Choir of Angels | " |"|P. " | " | " | |1304|Marcus Curtius |Umbrian School|"|P. " | " | " | |1305|Portraits |G. Donck |R|P. S. Richards|1890| £166 | |1308|Portrait |Mazo Martinez |G|G. Crompton | " | | | | | | | Roberts | | | |1309| " |B. Licinio |"|P. Perkins | " | 288 15| | | | | | Sale | | | |1310|"Ecce Homo!" |Cima da |"|P. " | " | 535 10| | | | Conegliano | | | | | |1311|Winter Scene |Beerstraaten |"|P. Colnaghi | " | 75 | |1312|Village Cobbler |Jan Victors |"|P. " | " | 73 | |1313|The Milky Way |Tintoretto |"|P. Lord | " | 2,500[273]| | | | | | Darnley | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |1314|The Ambassadors |Holbein |G|P. & G. |1890| } | | | | | | Longford| | } | | | | | | Castle| |}£55,000[274]| |1315|Ad. Pulido-Pareja |Velazquez |"| " " | " | } | |1316|Italian Nobleman |Moroni |"| " " | " | } | |1317|Marriage of Virgin |Sienese School|"|P. Mr. A. | " |C. 70 | | | | | | Borgen | | | |1318|Unfaithfulness |P. Veronese |"|P. Lord | " | [275] | | | | | | Darnley | | | |1319|View in Rome |Claude |"|P. Count | " | 175 | | | | | | d'Aglié | | | |1320|Aglonius Voon |C. Janssens |"|G. Mrs. Z. |1891| | | | | | | Troughton | | | |1321|Cornelia Remoens | " |"|G. " | " | | |1323|Piero de' Medici |An. Bronzino |"|B. Sir W. | " | | | | | | | Drake | | | |1324|Scorn |P. Veronese |"|P. Lord | " | 2500[3] | | | | | | Darnley | | | |1325|Respect | " |"|G. " | " | | |1326|Happy Union | " |"|P. " | " | [276] | |1327|Winter Scene |Jan van Goyen |"|P. Colnaghi | " |L. 335 | |1329|Interior |Brekelenkam |"|P. Buttery | " |W. 90 | |1330|Transfiguration |Duccio |"|G. R. H. | " | | | | | | | Wilson | | | |1331|Virgin and Child |B. Fungai |"|G. W. Connal, | " | | | | | | | junior | | | |1332|First Earl of |G. Netscher |"|G. Lord Savile| " | | | | Berkeley | | | | | | |1333|Deposition |Tiepolo |"|P. C. Bentinck| " |C. 157 10 | |1334|Fortune-teller |P. Longhi |"|P. " | " |C. 105 | |1335|Madonna |French School |"|P. Miss Sorel | " |C. 50 | |1336|Death of Dido |Liberale |"|P. Habich, | " | } | | | | | | Cassel | | } | |1337|"Ecce Homo!" |Sodoma |"|P. " | " | } | |1338|Adoration of |B. Fabritius |"|P. " | " | } | | | Shepherds | | | | | } | |1339|Birth of St. John | " |"|P. " | " | } | |1340|Landscape |R. Roghman |R|P. " | " | } | |1341| " |C. Decker |G|P. " | " | } | |1342| " |J. de Wet |"|P. " | " | } | |1343|Amsterdam |Dutch School |C|P. " | " | } 2,807 | | | Musketeers | | | | | } | |1344|Landscape |S. Ruysdael |G|P. " | " | } | |1345| " |J. Wouwerman |"|P. " | " | } | |1346|Winter Scene |H. Avercamp |"|P. " | " | } | |1347|Farmyard |I. van Ostade |"|P. " | " | } | |1348|Landscape |A. van de Velde |"|P. " | " | } | |1352| " |F. Moucheron |"|B. R. W. |1892| | | | | | | Cooper | | | |1353| " |Ryckaert |"|B. " | " | | |1375|House of Martha |Velazquez |"|B. Sir W. | " | | | | | | | Gregory | | | |1376|Sketch of a Duel | " |"|B. " | " | | |1377|Adoration of |Venetian School|"|B. " | " | | | | Shepherds | | | | | | |1378|Interior |Jan Steen |"|B. " | " | | |1380|Fruit and Flowers |Jan van Os |"|G. G. Holt | " | | |1381|The Holy Women |F. Mantegna |"|B. Lady | " | | | | | | | Taunton | | | |1383|Spinet |Jan Vermeer |"|P. Lawrie | " | £2400 | |1386|Soldiers Quarrelling|W. C. Duyster |"|P. Romer |1893| } | | | | | | Williams | | } £1250 | |1387|Players at Tric-Trac| " |"|P. " | " | } | |1390|Sea-Piece |J. Ruysdael |"|P. Mildmay | " | 3045 | | | | | | Sale | | | |1393|A Seaport |C. J. Vernet |"|G. Mrs. | " | | | | | | | Tarratt | | | |1397|Old Woman Sewing |Dutch School |"|G. Mr. H. J. |1894| | | | | | | Pfungst | | | |1399|Man's Portrait |Terburg |"|P. Eastlake | " | 75[4] | | | | | | Sale | | | |1400|Christ before Pilate|Rembrandt |"|P. " | " | 25[277] | |1401|Still Life |P. Snyers |"|P. S. Richards| " | 175 | |1406|The Annunciation |Sch. of Angelico|"|P. Lawrie | " | 1500 | | | | | | | | | |Mr. (now Sir) E. J. Poynter, P.R.A., was appointed Director May 8, 1894. | | | | | | | | | |1409|Marriage of St. |A. C. Agii |G|P. Eastlake |1894|C. 252 | | | Catherine | | | Sale | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |1410|Virgin and Child |Borgognone |G|P. Eastlake |1894| £441 | | | | | | Sale | | | |1411|Adoration of the |Ercole Roberti |"|P. " | " | 493 10 | | | Shepherds, etc. | | | | | | |1412|Virgin and Child |Sch. Botticelli|"|P. " | " | 756 | |1415|Anna Maria van |Gerard Dou |"|P. Mr. H. | " | 120 | | | Schurman | | | Buttery | | | |1416|Virgin and Child |F. Mazzola |"|P. Fairfax | " |L. 120 | | | | | | Murray | | | |1417|Agony in the Garden |A. Mantegna |"|P. Earl of | " | 1500 | | | | | | Northbrook | | | |" A |Illuminated Initial | " |"|G. " | " | | | | Letter | | | | | | |1418|St. Jerome |A. da Messina |"|P. " | " | 2500 | |1419|Legend of St. Giles |French School |"|P. " | " | 2000 | |1420|View in Haarlem |G. A. |"|P. Mr. Adrian | " | 472 10| | | | Berck-Heyde | | Hope | | | |1421|A Terrace Scene |Jan Steen |"|P. " | " | 819 | |1422|The Holy Family |E. Le Sueur |"|G. Mr. F. T. | " | | | | | | | Palgrave | | | |1423|Lady's Portrait |A. van |"|G. Mr. A. | " | | | | | Ravesteijn | | Fowell Buxton| | | |1424|Tobias and the Angel|A. Elsheimer |"|B. Mr. S. | " | | | | | | | Sanders | | | |1425|Tasting |Le Nain |"|G. Mr. Lesser | " | | | | | | | Lesser | | | |1427|A Pietà |Hans Baldung |"|P. George | " |L. 600 | | | | | | Donaldson | | | |1429|The Rotunda, |Canaletto |"|P. Mr. H. | " | 120 | | | Ranelagh | | | Buttery | | | |1430|Architectural |Beccafumi |"|G. Mr. George | " | | | | Subject | | | Salting | | | |1431|Baptism of Christ |Perugino |"|P. Rome | " | 400 | |1432|Marriage of |Gerard David |"|B. Mrs. Lyne |1895| | | | St. Catherine | | | Stephens | | | |1433|Lady's Portrait |R. Weyden |"|B. " | " | | |1434|A Betrothal |Velazquez |"|G. Lord Savile| " | | |1436|The Vision of |Vittore Pisano |"|P. Earl of | " | 3000 | | | St. Eustace | | | Ashburnham | | | |1437|Descent of the Holy |Barnaba |"|P. Mr. C. | " | 60 | | | Ghost | da Modena | | Simpson | | | |1438|Head of John the |Milanese School|"|P. Mr. J. C. | " |W. 140 7 6| | | Baptist | | | Watt | | | |1439|Fishing in the River|S. Ruysdael |"|From South | " | | | | | | | Kensington | | | | | | | | Museum | | | |1440|St. Dominic |Gentile Bellini|"| " | " | | |1441|A Fresco |Perugino |"| " | " | | |1442|Ships in a Gale |Bakhuizen |"| " | " | | |1443|Interior of a Church|H. Steenwyck |"| " | " | | |1444|Peasants Warming |G. van Honthorst|"| " | " | | | | Themselves | | | | | | |1445|Flower-Piece |Rachel Ruysch |"| " | " | | |1446| " | " |"| " | " | | |1447|A Hunting Party |A. F. van der |"|P. Lyne | " | 147 | | | | Meulen | |Stephens' Sale| | | |1448|Village Green in |F. S. Bonvin |"|G. Mrs. E. | " | | | | France | | | Edwards | | | |1449|Cardinal Richelieu |P. de Champaigne|"|G. Mr. Charles| " | | | | | | | Butler | | | |1450|The Holy Family |Seb. del Piombo |"|P. Earl of | " | 2000 | | | | | | Northbrook | | | |1451|Interior of a Church|G. A. |"|P. Lord | " | 525 | | | | Berck-Heyde | |Clifden's Sale| | | |1454|A Gondola |Guardi |"|P. " | " | 69 6 | |1455|The Circumcision |Gio. Bellini |"|G. Earl of | " | | | | | | | Carlisle | | | |1456|Virgin and Child |Italian School|"|G. Mr. John | " | | | | | | | P. Heseltine| | | |1457|Christ in the Temple|D. Theotocopuli |"|G. Sir J. C. | " | | | | | | | Robinson | | | |1459|The Wine Contract |G. van den |"|P. Colnaghi | " | 506 2 | | | | Eeckhout | | | | | |1461|St. Sebastian |M. di Giovanni |"|P. Florence | " | 571 | | | | | | (Bardini) | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |1462|A Sea Piece |H. Dubbels |G|G. Mr. Arthur |1895| | | | | | | Kay | | | |1465|Christ rising from |Gaudenzio |"|P. Milan | " | £215 | | | the Tomb | Ferrari | | (Scarpa Sale)| | | |1466|The Walk to Emmaus |Lelio Orsi |"|P. " | " | 25 | |1468|The Crucifixion |J. di Cione |"|B. Rev. J. H. |1896| | | | | | | Ash | | | |1469|Still Life |W. K. Heda |"|G. Mr. H. J. | " | | | | | | | Pfungst | | | |1470|Battle Scene |J. Weier |"|G. Sir A. W. | " | | | | | | | Franks | | | |1471|The Picnic |F. Goya |"|P. Duke de | " | } 265 | | | | | | Osuna | | } | |1472|The Bewitched | " |"|P. " | " | } | |1473|Lady's Portrait | " |"|P. Don A. de | " | 405 | | | | | | Urzaiz | | | |1476|Jupiter and Semele |A. Schiavone |"|P. Lord | " | 42 | | | | | | Leighton's | | | | | | | | Sale | | | |1478|The Crucifixion |G. Mansueti |"|P. London | " | 436 | |1479|A Winter Scene |H. Avercamp |"|P. Mr. J. St. | " |L. 89 | | | | | | Hensè | | | |1481|A Philosopher |C. P. Bega |"|G. Martin | " | | | | | | | Colnaghi | | | |1489|Venetian Senator |Venetian School|"|From South | " | | | | | | | Kensington | | | |1490| " " | " " |"| " " " | " | | |1493|Landscape, Carrara |G. Costa |"|G. Body of |1897| | | | Mountains | | | Subscribers | | | |1495|Christ Disputing |Mazzolino |"|P. Messrs. | " | 350 | | | | | | Agnew | | | |1652|Mad. van der Goes |Dutch School |"|B. Miss Brown | " | | |1653|Portrait of the |Mme. Vigée Le |"|P. Mr. S. T. | " | 600 | | | Artist | Brun | | Smith | | | |1660| " |Adrian van der |"|G. Sir E. |1898| | | | | Werff | | Malet, G.C.B.| | | |1661| } Wings of No. 1093|Ambrogio de |"|P. Duke Melzi,| " | 2160 | |1662| } | Predis | | Milan | | | |1664|La Fontaine |J. B. S. Chardin|"|P. Mons. | | 721 | | | | | | Sortais, | | | | | | | | Paris | | | |1665|Portrait of a Young |Amb. de Predis |"|P. Mr. Fuller | " | 1500 | | | Man | | | Maitland | | | |1674|Portrait of a |Rembrandt |"|P. Lord |1899| } | | | Burgomaster | | | de Saumarez| | } | |1675|Portrait of an Old | " |"|P. " | " |}15,050[278]| | | Lady | | | | | } | |1676|Christ disputing |Francesco de |"|B. Mrs. | " | | | | with the Doctors | Herrera | | Alexander | | | | | | | | Lang Elder | | | |1680|Portrait of a Young |Dutch School |"|P. Mr. Horace | " | 280 | | | Man | | | Buttery | | | |1682|Virgin and Child |Francesco di |"|P. Messrs. | " | 140 | | | | Giorgio | | Agnew | | | | | | | | (Bardini | | | | | | | | Coll.) | | | |1683|Study of a Horse |A. Cuyp |"|From South | " | | | | | | | Kensington | | | |1686|Study of Flowers |Fantin-Latour |"|G. Mrs. E. | " | | | | | | | Edwards | | | |1689|A Man and Wife |Mabuse |"|P. Mr. A. H. |1900| 4000 | | | | | | Buttery | | | |1694|Virgin and Child |Fra Bartolommeo |"|P. Cav. | " |L. 810 | | | | | | Landolfi | | | | | | | | (Rome) | | | |1695|Landscape with |Venetian School|"|From South | " | | | | Nymphs | | | Kensington | | | |1696|Virgin and Child |Gio. Bellini |"|G. Lady Layard| " | | |1699|The Lesson |Asc. to Vermeer|"|G. Mr. Fairfax| " | | | | | | | Murray | | | |1700|Portrait of a |Dutch School |"|B. Miss | " | | | | Gentleman | | | Pilbrow | | | |1701|Landscape |Allart van |"|G. Mr. G. H. | " | | | | | Everdingen | |Boughton, R.A.| | | |1776|The Adoration of the|Luca Signorelli |"|P. Colnaghi | " | 450 | | | Shepherds | | | | | | |1786|Lake of Thun |A. Calame |"|B. H. Vaughan | " | | |1810|Portrait of a Boy |F. Duchatel |"|B. " | " | | |1812|Agony in the Garden |Asc. to Spagna|"|B. " | " | | |1842|Heads of Angels |Sassetta |"|B. " | " | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |1843|Adoration of the |B. Bonfigli |G|P. Prof. |1901| £382 10 | | | Magi | | | Volpi, | | | | | | | | Florence | | | |1845|The Light of the |Paris Bordone |"|G. Mrs. Wood | " | | | | World | | | | | | |1847|Virgin crowned by |Luca Signorelli |"|P. Prof. | " | 2667 10 | | | Angels | | | Volpi, | | | | | | | | Florence | | | |1848|Portrait of a Youth |A. Raguineau |"|P. Noseda, | " | 350 | | | | | | Milan | | | |1849|The Nativity |J. Pacchiarotto |"|P. Agnew | " | 500 | |1850|Scene on the Ice |Vermeulen |"|B. Miss S. | " | | | | | | | Gaught | | | |1851|Inside of a Stable |Dutch School |"|B. " | " | | |1860|Portrait of a Lady|Asc. Sir A. More|"|B. Miss Julia |1896| | | | | | | Gordon | | | |1870|Angel with Keys |Conca |"|Lent by S. K. |1897| | | | | | | Mus. | | | |1872|Virgin and Child |Alv. Vivarini |"|G. C. Loeser |1898| | |1895|Baron de Linter of |Jacob Jordaens |"|P. T. H. Ward.|1902|C. 1200 | | | Namur | | | | | | |1896|Interior of a Church|P. Saenredam |"|G. Mr. Arthur | " | | | | | | | Kay | | | |1897|Coronation of the |Lorenzo |"|P. Galli-Dunn,| " |C.2739 13 8| | | Virgin | Monaco | | Florence | | | |1903|Landscape and |Pieter Boel |"|G. Sir E. | " | | | | Game | | | Durning- | | | | | | | | Lawrence | | | |1909|Execution of Lady |P. Delaroche |"|B. Lord | " | | | | Jane Grey | | | Cheylesmore| | | |1914|Château in Holland |Van der Heyden |"|B. Sir J. | " | | | | | | | Carmichael | | | |1915|Church and | " |"|B. " | " | | | | Marketplace | | | | | | |1917|Italian Landscape |Jan Both |"|B. Lord | " | | | | | | | Cheylesmore| | | |1918|Market-place, the |La Fargue |"|P. Hon. C. |1903|L. 300 | | | Hague | | | Sclater-Booth| | | |1925|Portrait of a Man |Lucas Cranach |"|G. J. P. | " | | | | | | | Heseltine | | | |1930|St. Margaret |Zurbaran |"|P. Lord | " |C. 1000 | | | | | | Northampton| | | |1937|Portrait of a Lady |B. van der |"|P. " |1904| } | | | | Helst | | | | } | |1938|Portrait of his |A. Dürer |"|P. " | " | } 10,000 | | | Father | | | | | } | |1939|Virgin and Child |French School |"|P. Agnew | " |L. 94 14 | |1944|"Portrait of |Titian |"|P. Sir G. | " | 30,000[279]| | | Ariosto" | | | Donaldson | | | |1951|Dr. Peral |Goya |"|G. " | " | | |1952|Mr. and Mrs. E. |Fantin-Latour |"|G. Mrs. E. | " | | | | Edwards | | | Edwards | | | | | |Sir Edward Poynter, P.R.A., retired on December 31, 1904; and the post of | |Director was left vacant for eighteen months. Sir Charles Holroyd | |was appointed to it on June 11, 1906. | | | |1953|Virgin and Child |L. Bastiani |G|G. Art |1905| | | | | | | Collection | | | | | | | | Fund | | | |1969|Greek Captive |H. Browne |"|B. C. Fraser | " | | |2057|Venus and Cupid |Velazquez |"|G. Art |1906| | | | | | | Collection | | | | | | | | Fund | | | |2058|Sunny Days in the |Diaz |"|G. Exors. | " | | | | Forest | | | Charles | | | | | | | | Hastie | | | |2062|Christ in Peter's |Saftleven |"|G. C. L. | " | | | | Ship | | | Eastlake | | | |2069|Madonna of the |Raphael |"|G. Miss Eva | " | | | | Tower | | | Mackintosh | | | |2078|Trouville |Boudin |"|G. Art | " | | | | | | | Collection | | | | | | | | Fund | | | |2081|Lulli and Musicians |H. Rigaud |"|P. Coulanges | " | £2,000 | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |2082|Florentine Lady |Sch. Botticelli|G|} | | | |2083|Dr. Fiera |Lorenzo Costa |"|} | | | |2084|Young Man in Black |Florentine |"|} | | | |2085|Bianca Capello |Bronzino Sch. |"|} | | | |2086|Gate and Tower |Zuccarelli |"|} | | | |2087|Pastoral Landscape | " |"|} | | | |2088|Christ Teaching |B. Luini |"|} | | | |2089|Madonna and Child |Beltraffio Sch.|"|} | | | |2090|An Angel |Il Moretto |"|} | | | |2091| " | " |"|} | | | |2092|St. Joseph | " |"|} | | | |2093|St. Jerome | " |"|} | | | |2094|Il Cavaliere |Moroni |"|}B. Nos. 2082-|} | | |2095|Man in Black |Alv. Vivarini |"|}2107, being |} | | |2096|Man with a Beard |Il Romanino |"|}the John |} | | |2097|Lady with Carnations|Paris Bordone |"|}Samuel |} | | | | | | |}Collection, |} | | | | | | |}were |} | | | | | | |}bequeathed by|}1906| | |2098|Salute, Venice |Guardi |"|}Miss Louisa |} | | |2099|Ducal Palace, | " |"|}and Miss |} | | | | Venice | | |}Lucy Cohen |} | | |2100|Marriage of |Tiepolo |"|} | | | | | Barbarossa | | |} | | | |2101|Esther and Ahasuerus|Seb. Ricci |"|} | | | |2102|Town and River |Marieschi |"|} | | | |2103| " | " |"|} | | | |2104|Man with Collar |Enrico Fiammingo|"|} | | | |2105|Man with a Beard |An. Carracci |"|} | | | |2106|Portrait of the |B. Gennari |"|} | | | | | Artist | | |} | | | |2107|Hagar |Salvator Rosa |"|} | | | |2118|Madonna and Child |G. F. da Rimini |"|G. George |1907| | | | | | | Salting | | | |2127|The Marchesa |Van Dyck |"|P. Colnaghi | " | £13,500[1]| | | Cattaneo | | | | | | |2129|The Parade |G. de St. Aubin |"|P. Agnew | " |L. 99 15 0| |2130|The Water Lane |Jan Siberechts |"|G. J. P. | " | | | | | | | Heseltine | | | |2133|Roses |Fantin-Latour |"|B. Mrs. Edwin | " | | | | | | | Edwards | | | |2134|Apples | " |"|B. " | " | | |2135|The Marsh of Arleux |Corot |"|B. " | " | | |2136|Lulli the Musician |A. de St. Aubin |"|G. Comtesse de| " | | | | | | | Coullanges | | | |2143|Lady at a Spinet |J. Ochtervelt |"|G. Henry | " | | | | | | | Pfungst | | | |2144|The Marchesa |Van Dyck |"|P. Colnaghi | " |£13,500[280]| | | Cattaneo | | | | | | |2162|His own Portrait |Joseph Ducreux |"|P. Shepherd | " |L. 50 | |2163|The Magdalen |Mabuse |"|P. T. H. Mack | " |L. 30 | |2204|Church Interior |Hendr. Steenwyck|"|B. H. C. | " | | | | | | | Bunning | | | |2205|Church Interior |Pieter Neeffs |"|B. " | " | | |2206|Vespers | " |"|B. " | " | | |2207|After Vespers | " |"|B. " | " | | |2209|Duke Ulricus |J. Cornelissen |"|G. Mrs. | " | | | | | | | Eastlake | | | |2211|Jacqueline |Mabuse |"|P. Lewis Fund |1908| | |2216|La Main Chaude |Troy |"|G. Col. Lyons | " | | |2217|Elisa Bonaparte |J. L. David |"|P. Lewis Fund | " | | |2218|Mme. Malibran |Ingres |"|P. " | " | | |2251|Bona of Savoy |Amb. de Predis |"|G. Sir G. | " | | | | | | | Donaldson | | | |2256|River Scene |Harpignies |"|G. Miss M'Ghee| " | | |2257|Ilex Trees | " |"|G. " | " | | |2258|Woodland Scene |G. Michel |"|P. Lewis Fund | " | | |2281|Madonna |Lotto |"|B. Colnaghi | " | | |2282|Bohemians |P. Wouwerman |"|B. " | " | | |2283|Dawn |A. van der Neer |"|B. " | " | | |2285|Family Group |Frans Hals |"|P. Lord Talbot| " | £25,000 | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |2288|Dr. Forlenze |J. A. Vallin |G|G. F. Mélé |1908| | |2289|Attila |Delacroix |"|G. " | " | | |2290|Parc de Sansac |A. Charnay |"|G. The Artist | " | | |2291|Cardinal de Retz |P. de Champaigne|"|B. G. Fielder | " | | |2292|A Lady |Mirevelt |"|B. " | " | | |2293|Holy Family |Asc. to Penni |"|B. " | " | | |2294|Galileo |Passignano |"|B. " | " | | |2295|A Commander |Pourbus, Jun. |"|B. " | " | | |2423|Horses (lithographs)|Géricault |"|G. E. Houghton|1898| | |2439|River Scene |T. Rousseau |"|G. H. Velten |1909| | |2475|Duchess of Milan |Holbein |"|[281]Duke of | " | £72,000 | | | | | | Norfolk | | | |2480|Fish Market |P. Rousseau |"|G. H. L. | " | | | | | | | Florence | | | |2482|Virgin and Child |Benvenuto |"|B. George |1910| | | | | da Siena | | Salting | | | |2483| " |F. de Lorenzo |"|B. " | " | | |2484| " |L'Ingegno |"|B. " | " | | |2485|Salome |Cesare da Sesto |"|B. " | " | | |2486|A Concert |Ercole Roberti |"|B. " | " | | |2487|B. Bianchini |Francia |"|B. " | " | | |2488|Holy Family |Luca Signorelli |"|B. " | " | | |2489|Young Florentine |D. Ghirlandajo |"|B. " | " | | |2490|Costanza de' Medici |Lorenzo di Credi|"|B. " | " | | |2491|Girolamo Benevieni |R. Ghirlandajo |"|B. " | " | | |2492|Virgin and Child |J. del Sellaio |"|B. " | " | | |2493|Salome |S. del Piombo |"|B. " | " | | |2494|Italian Gentleman |Cariani |"|B. " | " | | |2495|Virgin and Child | " |"|B. " | " | | |2496| " |Beltraffio |"|B. " | " | | |2497| " |Botticelli Sch.|"|B. " | " | | |2498|Young Venetian |Basaiti |"|B. " | " | | |2499|Virgin and Child | " |"|B. " | " | | |2500| " |Previtali |"|B. " | " | | |2501|Salvator Mundi | " |"|B. " | " | | |2502|Virgin and Child |B. Mainardi |"|B. " | " | | |2503|Holy Family |A. da Solario |"|B. " | " | | |2504|Virgin and Child |Cesare da Sesto |"|B. " | " | | |2505|David and Jonathan |Cima da |"|B. " | " | | | | | Conegliano | | | | | |2506|Virgin and Child | " |"|B. " | " | | |2507|A Lady |Bart. Veneziano |"|B. " | " | | |2508|Virgin and Child |Florentine |"|B. " | " | | |2509|A Youth |Alv. Vivarini |"|B. " | " | | |2510|Raphael (?) |Umbrian School|"|B. " | " | | |2511|A Musician |Giulio Campi |"|B. " | " | | |2512|The Magdalen |Correggio |"|B. " | " | | |2513|Virgin and Child |Tiepolo |"|B. " | " | | |2514|Grand Canal |Canaletto |"|B. " | " | | |2515|Piazza S. Marco | " |"|B. " | " | | |2516|Procuratie | " |"|B. " | " | | |2517|Buildings |Guardi |"|B. " | " | | |2518|Archway | " |"|B. " | " | | |2519|Courtyard | " |"|B. " | " | | |2520|Quay-side | " |"|B. " | " | | |2521|Rains | " |"|B. " | " | | |2522|Treasure-seekers | " |"|B. " | " | | |2523|Archway | " |"|B. " | " | | |2524|Tower of Mestre | " |"|B. " | " | | |2525|Piazza S. Marco | " |"|B. " | " | | |2526|Peasant and Child |Spanish |"|B. " | " | | |2527|Earl of Monmouth |J. G. Gonzalez |"|B. " | " | | |2528|Man with Glove |Frans Hals |"|B. " | " | | |2529|Lady with Fan | " |"|B. " | " | | |2530|A Lady |C. Janssens |"|B. " | " | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |2531|St. Bavon, Haarlem |P. Saenredam |G|B. George |1910| | | | | | | Salting | | | |2532|Woman and Sheep |Jan Wynants |"|B. " | " | | |2533|Sandy Lane | " |"|B. " | " | | |2534|River Scene |A. van der Neer |"|B. " | " | | |2535|Judith |E. van der Neer |"|B. " | " | | |2536|Moonlight |A. van der Neer |"|B. " | " | | |2537|Landscape | " |"|B. " | " | | |2538|Diana Bathing |Rembrandt |"|B. " | " | | |2539|Man with Cap | " |"|B. " | " | | |2540|The Hurdy-Gurdy |A. van Ostade |"|B. " | " | | |2541|The Cobbler | " |"|B. " | " | | |2542|Courtship | " |"|B. " | " | | |2543|Man with Jug | " |"|B. " | " | | |2544|The Cart |I. van Ostade |"|B. " | " | | |2545|River Scene |A. Cuyp |"|B. " | " | | |2546|Lady and Child | " |"|B. " | " | | |2547|Cattle | " |"|B. " | " | | |2548|Grey Horse | " |"|B. " | " | | |2549|Tailor's Shop |Q. Brekelenham |"|B. " | " | | |2550|Afternoon Nap | " |"|B. " | " | | |2551|Scouring Pans |P. van der |"|B. " | " | | | | | Bosch | | | | | |2552|Refusing the Glass |P. de Hooch |"|B. " | " | | |2553|A Lady's Toilet |J. Ochtervelt |"|B. " | " | | |2554|Saddling a Horse |P. Wouwerman |"|B. " | " | | |2555|Woman Asleep |Jan Steen |"|B. " | " | | |2556|The Pedlar | " |"|B. " | " | | |2557|Merry-Makers | " |"|B. " | " | | |2558|Grace before Meat | " |"|B. " | " | | |2559|Oyster Feast | " |"|B. " | " | | |2560|Skittle Players | " |"|B. " | " | | |2561|View near Haarlem |J. Ruysdael |"|B. " | " | | |2562|Ruined Castle | " |"|B. " | " | | |2563|Forest Entrance | " |"|B. " | " | | |2564|A Cottage | " |"|B. " | " | | |2565|Haystack | " |"|B. " | " | | |2566|A Forest | " |"|B. " | " | | |2567|Sea-piece | " |"|B. " | " | | |2568|Lady at Virginals |Jan Vermeer |"|B. " | " | | |2569|Boors Drinking |A. Brouwer |"|B. " | " | | |2570|Woody Landscape |Hobbema |"|B. " | " | | |2571| " | " |"|B. " | " | | |2572|The Little Farm |A. van de Velde |"|B. " | " | | |2573|Sea-piece |W. van de Velde |"|B. " | " | | |2574|A Calm | " |"|B. " | " | | |2575|Musical Party |A. Palamedes |"|B. " | " | | |2576|Family Group |Pieter Codde |"|B. " | " | | |2577|Soft Breeze |Jan van Goyen |"|B. " | " | | |2578|Windmill | " |"|B. " | " | | |2579|The Siene | " |"|B. " | " | | |2580|River Scene | " |"|B. " | " | | |2581|A. van Leuwenhoek |Maes |"|B. " | " | | |2582|Fruit and Flowers |David de Heem |"|B. " | " | | |2583|Cattle |Paul Potter |"|B. " | " | | |2584|Lady with Mirror |Pieter Codde |"|B. " | " | | |2585|St. Mary Magdalene |A. Ysenbrandt |"|B. " | " | | |2586|Coast Scene |Van de Cappelle |"|B. " | " | | |2587|A Calm | " |"|B. " | " | | |2588|Dutch Galliot | " |"|B. " | " | | |2589|Young Astrologer |Frans van |"|B. " | " | | | | | Mieris | | | | | |2590|Woman at a Window |G. Metsu |"|B. " | " | | |2591|The Forge | " |"|B. " | " | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |2592|Fruit Piece |W. K. Heda |G|B. George |1910| | | | | | | Salting | | | |2593|Man's Portrait |Petrus Cristus |"|B. " | " | | |2594|Duke of Cleves |Memlinc |"|B. " | " | | |2595|Virgin and Child |D. Bouts |"|B. " | " | | |2596|St. Jerome |Gerard David |"|B. " | " | | |2597|Venetian Gentleman |J. S. Calcar |"|B. " | " | | |2598|Diana and Endymion |Rubens |"|B. " | " | | |2599|The Doctor |D. Teniers (jr.)|"|B. " | " | | |2600|Card Player | " |"|B. " | " | | |2601|Old Woman Reading | " |"|B. " | " | | |2602|Man with Ring |Flemish School|"|B. " | " | | |2603|Virgin and Child |Cologne School|"|B. " | " | | |2604|Young Man |C. Amberger |"|B. " | " | | |2605|Dr. Fuchsius |B. Bruyn |"|B. " | " | | |2606|Madonna Enthroned |Flemish School|"|B. " | " | | |2607|Man with Medallion | " |"|B. " | " | | |2608|Virgin and Child |R. Campin |"|B. " | " | | |2609| " | " |"|B. " | " | | |2610|A. de Bourbon |Corneille |"|B. " | " | | |2611|Man in Black | " |"|B. " | " | | |2612|Louis XI. |Burgundian |"|B. " | " | | |2613|Philip and Margaret | " |"|B. " | " | | |2614|Mary Magdalene |French School |"|B. " | " | | |2615|Mary of France | " |"|B. " | " | | |2616|A Lady | " |"|B. " | " | | |2617|Duchess d'Angoulême |French School |"|B. " | " | | |2618|Virgin and Child | " |"|B. " | " | | |2619|Landscape |N. Poussin |"|B. " | " | | |2620|The Happy Mother |Fragonard |"|B. " | " | | |2621|Willows |Daubigny |"|B. " | " | | |2622|River Scene | " |"|B. " | " | | |2623|Alders | " |"|B. " | " | | |2624|Garden Wall | " |"|B. " | " | | |2625|The Bent Tree |Corot |"|B. " | " | | |2626|Wood Gatherer | " |"|B. " | " | | |2627|Evening on Lake | " |"|B. " | " | | |2628|Noon | " |"|B. " | " | | |2629|A Ford | " |"|B. " | " | | |2630|Cows and Marsh | " |"|B. " | " | | |2631|Fisherman's Hut | " |"|B. " | " | | |2632|The Storm |Diaz |"|B. " | " | | |2633|Stormy Sunset | " |"|B. " | " | | |2634|River Scene |Dupré |"|B. " | " | | |2635|Sunset: Auvergne |T. Rousseau |"|B. " | " | | |2636|The Whisper |Millet |"|B. " | " | | |2669|St. Clement and |de Jean Perréal |"|B. " | " | | | | Donor | Maître | | | | | |2670|Lady with Rosary |Flemish School|"|B. " | " | | |2671|A Pietà |Francia |"|B. " | " | | |2672|Venetian Gentleman |Alv. Vivarini |"|B. " | " | | |2673|Narcissus |Beltraffio |"|B. " | " | | |2709|Mother and Child |J. Maris |"|G. J. C. J. | " | | | | | | | Drucker | | | |2710|Drawbridge | " |"|G. " | " | | |2711|Watering Horses |Mauve |"|G. " | " | | |2712|Haarlem Church |Bosboom |"|G. " | " | | |2713|The Philosopher |Israels |"|G. " | " | | |2714|Grandfather's Birthday|Isabey |"|G. " | " | | |2715|Fishmarket | " |"|G. " | " | | |2723|Landscape |Asc. to G. |"|G. P. Pusey |1849| | |2724| " | Roussin |"|G. " | " | | |2725|Christ Blessing |B. Diana |"|G. Sir C. |1910| | | | | | | Phillips | | | |2727|Pont de la Tournelle|S. Lepine |"|G. J. C. J. | " | | | | | | | Drucker | | | |2731|Landscape |Buitenweg |"|P. Lord | " |W. £100 | | | | | | Northbrook | | | |----+--------------------+----------------+-+--------------+----+------------|

/=============================================================================\ | | | |H| How Acquired.| | | | No.| SUBJECT. | PAINTER. |u|P.= Purchased.|When| Price. | | | | |n|G.= Given. | | | | | | |g|B.=Bequeathed.| | | |----+--------------------+----------------+-+--------------+----+------------| |2732|Shipwrecked Mariner |Israels |"|G. Mrs. A. |1910| | | | | | | Young | | | |2757|Tartarus |Callot |"|G. Miss |1884| | | | | | | Appleyard | | | |2758|A Squall |Boudin |"|G. T. W. Bacon|1910| | |2759|Stormy Landscape |G. Michel |"|G. " | " | | |2764|Family Group |Asc. to Vermeer|"|P. M. | " |C. £1000 | | | | | | Flersheim | | | |2767|The Sea |Courbet |"|G. J. P. |1911| | | | | | | Heseltine | | | |2790|The Magi |Mabuse |"|[282]Lady | " | 40,000 | | | | | | Carlisle | | | |2856|Cavalier |P. Quast |"|B. Mrs. C. L. | " | | | | | | | Eastlake | | | |2862|John Gualberto |Lorenzo Monaco |"|G. H. Wagner |1912| | |2863|Virgin and Child |Sch. Gozzoli |"|G. " | " | | |----+--------------------+----------------+-+--------------+----+------------|

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THE HERKOMERS. Vol. I. Library Edition. With 6 Illustrations. 8vo. 7s. 6d. net. Large Paper Edition, with 28 Illustrations. 4to. 25s. net. Vol. II. With 8 Illustrations. 8vo. 7s. 6d. net.

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THE PRACTICE OF WATER COLOUR PAINTING. Illustrated by the work of Modern Artists. By A. L. BALDRY. With 37 Illustrations in Colour by distinguished Artists. Crown 4to. 12s. net.

A HISTORY OF OLD SHEFFIELD PLATE. By FREDERICK BRADBURY. Illustrated. Demy 4to. £2: 2s. net.

THE FRENCH PASTELLISTS OF THE EIGHTEENTH CENTURY. By HALDANE MACFALL. Edited by T. LEMAN HARE. With 40 Plates in Colour and 12 in Black. Demy 4to. 42s. net.

MACMILLAN AND CO., LTD., LONDON.

FOOTNOTES:

[265] Pictures bought out of the Chantrey Bequest are not included. For these see Vol. II.

[266] The number of this picture has now been given to the foregoing, which has only recently been exhibited.

[267] This picture does not appear in the Official Catalogue; nor can I find any trace, in the Director's Annual Reports, of what was done with it. Its number has now been given to the foregoing picture, which has only recently been exhibited.

[268] The donor was informed when he offered these two pictures that they were too large, in view of the limited wall-space then at the disposal of the Gallery, to be placed in the rooms to which the public were admitted. The pictures were presented on those terms, and for many years were not numbered or incorporated in the Official Catalogue. They are now Nos. 2723, 2724.

[269] No. 622 appears to have been missed in the official numbering.

[270] No. 723 appears to have been missed in the official numbering.

[271] The central portion of this triptych was bought in 1874 for £525. The two side panels were bought in 1878, at the sale of Mr. Barker's pictures, for £33:12s., and were added to the central compartment under the same number (909).

[272] £1224 from public Funds, £151:10s. from Lewis Fund.

[273] 1313 and 1318 were purchased together for £2500.

[274] £25,000 from a Parliamentary Grant; £30,000 from private gifts (see p. xv.)

[275] 1313 and 1318 were purchased together for £2500.

[276] 1324 and 1326 were purchased together for £2500.

[277] Under the terms of Sir C. Eastlake's will these pictures were offered to the National Gallery at the prices which he paid for them.

[278] This sum was made up as follows:--Special Grant from the Treasury, £12,500; from the Annual Grant for 1898-99, £1550; gifts by Mr. Alfred de Rothschild and Mr. Heseltine, £500 each.

[279] £9000 from the Parliamentary grant; the remainder subscribed by Mr. W. W. Astor, Mr. A. Beit, Lord Burton, Lord Iveagh, Mr. J. Pierpont Morgan, and Lady Wantage.

[280] To this sum Messrs. Colnaghi contributed £1000.

[281] Presented by the National Art-Collections Fund with the aid of a grant from the Government of £10,000.

[282] The National Gallery funds provided £15,000; the Treasury made a special grant of £15,000; and the National Art-Collections Fund contributed £10,000.

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Transcriber's Notes:

Obvious spelling & typos corrected.

Bold is enclosed in =equals=.

[Symbol: hand pointing right] has been replaced with -->.

Removed first MACMILLAN AND CO., LTD., LONDON from the books on art section as it is redundant.

P. xix through xxi is a list of updates. Author mostly used "see also" notation in the INDEX LIST OF PAINTERS for the old reference. Added same notation to missed index entries. Added similar "See also" references to the NUMERICAL CATALOGUE. Also updated INDEX LIST OF PICTURES where the author missed.

Moved "Portrait of a Young Man, 1052" from "Milanese School" to "Lombard School (artist unknown)" in INDEX LIST OF PAINTERS to agree with NUMERICAL CATALOGUE & INDEX LIST OF PICTURES.

Moved "Adoration of the Magi, 582" from "Angelico, School of" to "Angelico, Fra, p. 329" in INDEX LIST OF PAINTERS to agree with NUMERICAL CATALOGUE & INDEX LIST OF PICTURES.

Added "Judgment of Paris, 209" to "Poelenburgh, Cornelis van" in INDEX LIST OF PAINTERS to agree with NUMERICAL CATALOGUE and INDEX LIST OF PICTURES.

Moved "Scene on the Ice, 1850" from "Meulen A. F. van der" to "Vermeulen, Andries" in INDEX LIST OF PAINTERS to agree with NUMERICAL CATALOGUE and INDEX LIST OF PICTURES.

Moved "Interior of a Stable, 1851" from "Meulen A. F. van der" to "Dutch School (artists unknown)" in INDEX LIST OF PAINTERS to agree with NUMERICAL CATALOGUE and INDEX LIST OF PICTURES.

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